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Kunsthaus Kende
Bikō Hayashi (Akita, 1937) Kin-Gin-Dō Mokume-gane vase 'Hyotan', 2024 Fine gold, fine silver, copper H 18 cm Signed by the artist below and on the accompanying tomobako (wooden box) Provenance: the artist's personal collection Exhibition: featured in April 2026 at the solo exhibition 'Bikō Hayashi-Gold, Silver, and Copper Mokume-gane: Cultural Property Exhibition' in Akita Japanese metal artist Bikō Hayashi is one of the foremost representatives of contemporary Japanese metalwork. Combining the centuries-old tradition of kōgei with a modern sculptural language, he is renowned for his mastery of tankin, the art of shaping metal through hammering. A defining achievement of his career is the rediscovery of Kin-Gin-Dō Mokume-gane (gold, silver and copper wood-grain metal), a highly complex technique dating back to the early Edo period. Once used to decorate samurai swords and armour, this craft was almost entirely lost with the decline of the samurai class. After more than four decades of research, Hayashi succeeded in reconstructing its traditional methods and metal compositions, bringing this remarkable art form back to life and adapting it for contemporary sculptures and vessels. In recognition of his contribution, he was designated a custodian of intangible cultural heritage by Akita Prefecture. The Hyōtan, or bottle gourd, is a traditional Japanese symbol associated with fertility, prosperity, longevity and protection. Its distinctive shape represents the preservation of happiness and positive energy.
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; European private collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)
Snackers Antiques & Fine Art
Pair of candelabra depicting Mercury and Fortuna Empire period, 1820 Gilded and patinated bronze H 100 x W 27 x D 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255 These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolising trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet.
Herwig Simons Fine Arts
Memento Mori Northern Europe, 17th century Carved stone representing a laurel-crowned skull and bones D 30 x W 18 cm Provenance: previously in the collection of Christian de Bruyn, former chairman of the Royal Belgian Chamber of Art and Antique Dealers, now ROCAD; private collection, Paris An evocative and finely carved Memento Mori sculpture depicting a human skull crowned with a laurel wreath and accompanied by crossed bones. Executed in stone, the sculpture displays a richly weathered surface and a beautiful time-worn patina.
Pelgrims de Bigard
Anthonie Verstraelen (Gorinchem 1594-1641 Amsterdam) Winter landcape with ice skaters by the city edge Oil on panel 43 x 71 cm Provenance: with kunsthandel P. de Boer, Amsterdam, 1937-1938; collection Ir. J. Th. Berkemeijer, Rotterdam, 1938; collection F.N. Meuter, 1972 (according to the label of P. de Boer attached to the reverse); with kunsthandel Waterman, Amsterdam, by 1982; with Palm Court Galleries, Baarn, 1999; private collection, the Netherlands Literature: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938, cat. n° 160, ill. 57; Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32, ill. p. 149; and ill. in Tableau, 15 February 1982 Exhibitions: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938; Amsterdam, Kunsthandel P. de Boer, ‘Nederland water/land, de relatie tussen land en water in de Nederlandse schilderkunst van 1500 tot nu’, 13 January-19 February 1972, n° 38 (label attached to the reverse); Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: Atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July-30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
Galerie Florence de Voldère
Pieter Brueghel the Younger (Brussels circa 1564-1637/8 Antwerp) The wedding feast in the barn, 1622 Oil on panel 75 x 100 cm Signed and dated ‘P.BREVGHEL 1622’ Provenance: private collection, Belgium; Galerie Robert Finck, Brussels, 1976; private collection, Belgium, 1969; with John Mitchell, London, 1958; Lord Sperling, 1932 Literature: G. Marlier, Pierre Breughel le Jeune, Brussels, 1969, pp. 177-179, n° 2 (ill. n° 99-101); K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38), Die Gemälde mit Kritischem OeuvreKatalog, vol. 2, Lingen, 1988-2000, p. 709, n° E857, p. 646, pp. 652-653 (ill. in colour on these pages, figs. 524-525, and pp. 650-660); Kulturstiftung Ruhr Essen, ed., Pieter Breughel der Jüngere-Jan Brueghel der Ältere, Flämische Malerei um 1600, Tradition und Fortschritt, Lingen, 1997, pp. 398-400, n° 135 (ill. in colour on p. 399); Koninklijk Museum voor Schone Kunsten, ed., Pieter Brueghel le Jeune - Jan Brueghel l’Ancien, Une famille de peintres flamands vers 1600, Antwerp, 1988, p. 384, n° 140 (ill. in colour on p. 385) Exhibitions: Brussels, Galerie Robert Finck, Pieter Brueghel de Jongere in Belgische privécollecties, 1969; Essen, Kulturstiftung Ruhr, Villa Hügel, Brueghel-Brueghel, Pieter Brueghel d.J.-Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 16 August-16 November 1997, n° 135; Vienna, Kunsthistorisches Museum, Brueghel–Brueghel, Pieter Brueghel d.J. - Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 9 December 1997-14 April 1998, n° 135; Antwerp, Koninklijk Museum voor Schone Kunsten, Pieter Brueghel le Jeune-Jan Brueghel l’Ancien. Une famille de peintres flamands vers 1600, 3 May-26 July 1998, n° 140
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strength), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Serge Schoffel - Art Premier
Ngoin mask Bamileke, Cameroon, 19th century Wood, pigments, crusty deposits H 65 x W 45 cm Provenance: Jacques Ulmann, Paris, France; Galerie Ratton-Hourdé, Paris, France; Michel Périnet, Paris, France; Christie’s Paris, Michel Périnet collection, on 23 June 2021, lot 59
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, bearing a uniquely spotless two-tone rose dial Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
Guy Pieters Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 56 x 43 cm Certificate of authenticity by the Estate of Christo n° 308-11
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed 'Hemmerle', and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.