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Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Willow Gallery
henri le sidaner
la neige
Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled 'The Red House'); Y. Farinaux-le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86
De Zutter Art Gallery
christo
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm Provenance: artist's studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91, Cologne, 1998, pp. 694-695 (illustrated)
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.
Pauline's Jewellery Box
Belle Epoque diamond tiara necklace, circa 1905 Platinum and diamonds Provenance: private collection, London An important Belle Epoque diamond tiara necklace, set with old European & rose cut diamonds. The estimated total diamond weight is approximately 12.00 carats. Estimated colour H-I on average. Estimated clarity VS-SI on average. The diamonds are bright & lively, mounted in platinum.
Galerie Nathalie Obadia, Paris/Brussels
joris van de moortel
Joris Van de Moortel (Ghent, 1983) Music enjoys direct access to the soul, has an immediate echo of response since we have music within ourselves, 2025 Oil on linen and artist’s steel frame (3 panels) 200 x 220 cm Provenance: the artist's studio, Belgium Exhibition: Joris Van de Moortel, Le poids du ciel illumine la terre, Galerie Nathalie Obadia, Paris, France, 2025
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Hieronymus Bosch ('s-Hertogenbosch, circa 1450-1516) Parable of the two blind men, circa 1540-1570 Engraving by Pieter van der Heyden (circa 1530-1572) Published by Hieronymus Cock (Antwerp, 1518-1570) 22.2 x 22.5 cm References: New Hollstein Dutch 20 1(5), first state Lex Antiqua, Antiquarian printseller
Galeria Jordi Pascual
Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photo-certificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy
Desmet Fine Arts
giovanni & giacomo zoffoli
Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449
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)
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
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 Alexis Pentcheff
maurice utrillo
Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)
Galerie AB - Agnès Aittouarès
Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988