This section will be available this Autumn.
Repetto Gallery
Lucio Fontana (Rosario, Argentina 1899-1968 Varese, Italy) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist © 2026 The estate of Tom Wesselmann / Artists Rights Society (ARS), New York Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928-1929’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135 With this Yawning Leopard, Raymond de Meester, a leading figure of the Brussels School during the interwar period, once again demonstrates his exceptional ability to capture the anatomy and demeanour of animals with striking realism. While recalling Bugatti’s Reclining Lioness Yawning, which de Meester was probably inspired by, the feline is depicted here in a particularly original pose. An appealing and rare model, this sculpture was cast in an edition of only three examples. This example, numbered 1, is an artist’s proof, as confirmed by the engraved inscription, meaning that the artist personally oversaw its production. This is particularly evident in its beautiful, richly nuanced warm brown patina, to which the sculptor attached great importance, as well as in the high quality of the casting, executed by Batardy.
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
HELENE BAILLY MARCILHAC
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Roses, circa 1943 Oil on original canvas 37.7 x 41 cm Signed lower left 'Bonnard' Literature: A. Terrasse, Pierre Bonnard, Paris, 1967, ill. in colour p. 165; R. Cogniat, Bonnard, Paris, 1968, ill. in colour p. 83; J. and H. Dauberville, Bonnard, Catalogue raisonné de l'œuvre peint, 1940-1947 et supplément 1887-1939, Paris, 1974, vol. IV, ill. under n° 1628, p. 60; M. Terrasse, Bonnard, from the Drawings to the Paintings, Paris, 1996, ill. in colour p. 268. Exhibition: Munich, Haus der Kunst and Paris, Musée de l'Orangerie des Tuileries, Pierre Bonnard, Centenaire de sa naissance, October 1966-April 1967
Dalton Somaré
Chokwe chair Angola, late 19th century Wood, metal, and leather H 68 x W 31 x D 38 cm Provenance: collection of Joyce and Donald Doyle, diamond mine directors for the Compagnie de la Forminière in the Belgian Congo in the 1920s. The majority of their collection was donated to the Princeton University Art Museum. Thence by descent to their daughter Suzanne "Sue" Miers, née Doyle (1922–2016), Africanist historian and professor at Ohio University. Thence by descent to her children Charles Miers and Caroline Farrington, New York Literature: Narrative Wisdom and African Arts (Exhibition catalogue), St. Louis Art Museum, 19 October-16 February, 2025, pp. 74, 75, 81 Exhibition: Narrative Wisdom and African Arts, St. Louis Art Museum, 19 October-16 February, 2025 This leather-seated chair belongs to a tradition of Chokwe seats of authority, commonly described as ngundja. Its refined decoration transforms a functional furnishing into a visual expression of chiefly prestige. Such seats formed part of a wider repertoire of objects associated with leadership, alongside ceremonial weapons, staffs and elaborately carved pipes. The combination of a backrest, a leather-covered seat and metal tacks reflects the adaptation of European furniture encountered through trade from the seventeenth century onward. Chokwe artists reworked these features within their own sculptural language, making the chair an expression of local political and spiritual values. At the centre of the back is a sculpted female face, which must be identified as Pwo. Pwo honours female ancestors and has particular significance within a society that traces descent through women. Her imagery also belongs to the wider world of masquerade and initiation. The lower stretchers carry small sculptural groups as musicians playing handheld drums and a slit drum, and a mounted pombeiro, or long-distance trader. It must be noted the unusual prominence of a female subject in these carved scenes. These scenes can be read within the broader Chokwe tradition of presenting ritual and everyday activities as aspects of the social world entrusted to a leader. Extremely sophisticated geometric carving and rows of metal studs enrich the back and supports, contrasting with the leather seat and the varied tones of the wood. The combination of carved figures, the monumentality of the composition and the rigour of the geometric decoration in high relief lend this sculpture the dignity and authority of a true throne.
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: De Inder Rieden Collectie, Museum Bredius, 2019, n° 60, ill. in colour
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.
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
La Galerie URBAN
Maurice Denis (Granville 1870-1943 Saint-Germain-en-Laye) Bucolique d’Automne or L’Heureux Verger Pouldu, 1906 Oil on canvas 82 x 117 cm Signed and dated lower left 'MAVRICE DENIS 1906' This work is listed in the artist’s catalogue raisonné under n° 906.0016 Provenance: Baron Eberhard von Bodenhausen, Berlin (acquired from the artist, 1906-1908); Bernheim-Jeune, Paris (1908-1919); Miss Edwards (1919); Brooklyn Museum, New York (1927); Galerie Philippe Reichenbach, Paris; Walter P. Chrysler Jr., New York (1960); Stuart Pivar, New York (2004-2021); private collection, Switzerland; La Galerie URBAN, Paris Exhibitions: Salon de la Société Nationale des Beaux-Arts, Paris, Grand Palais, 15 April-30 June 1906, p. 19, n° 389 (ill.); Fünfzehnten Ausstellung der Berliner Secession, Berlin, spring 1908, n° 46; Internationale Kunstschau, Vienna, Gebäude der Secession, May-October 1909, n° 15; Nus, Paris, Galerie Bernheim-Jeune, 17-28 May 1910, n° 30; Ausstellung Französischer Kunst des 18., 19. und 20. Jahrhunderts, Leipzig, Leipziger Kunstverein, October-November 1910, n° 55; Internationale Kunstausstellung der Münchener Secession, Munich, Kgl. Kunstausstellungsgebäude am Königsplatz, 16 May-31 October 1911, n° 36; Exposition d'Art contemporain, Paris, Galerie Manzi-Joyant, 12-31 October 1912, n° 44; Ausstellung französischer Kunst, Zurich, Zürcher Kunsthaus, 16 February-26 March 1913, n° 93; A XIX. Szàzad nagy francia mesterei, Budapest, Ernst-Muzeum, September 1913, n° 78; Le Paysage du Midi, Paris, Galerie Bernheim-Jeune, 8-16 June 1914, n° 26; Exposition de peinture, série C, Paris, Galerie Bernheim-Jeune, 19-30 June 1916, n° 13; French Paintings 1789-1929 from the collection of Walter P. Chrysler Jr., Dayton Art Institute, 25 March-22 May 1960, p. 102, n° 94 (ill.) Painted in 1906, Bucolique d’Automne is one of the most eloquent expressions of Maurice Denis’s vision of a modern Golden Age. Set in an orchard at Le Pouldu, on the Breton coast so closely associated with the Nabis, the composition brings together a nursing mother, a reclining nude and a group of children gathering fallen apples beneath a laden tree. Beyond the foliage, a glimpse of the sea opens onto a landscape bathed in golden light. The painting belongs to Denis’s so-called ‘classical moment’, a period marked by increasingly rigorous compositions and a more luminous, vibrant palette, at times recalling the intensity of Matisse’s Fauvist colours. Here, ochres, vermilions and deep greens combine in a shimmering, almost mosaic-like interplay. The garden becomes an emblem of fertility and motherhood: the fruit-bearing tree echoes the nurturing female body, while the children reinforce the image of nature as a source of life and renewal. Modelled by Denis’s wife Marthe, the nude combines quiet sensuality with a vision of feminine beauty, lending the scene an atmosphere of serenity. First exhibited at the 1906 Salon de la Société nationale des Beaux-Arts in Paris, alongside Denis’s monumental Baigneuses au petit temple or Plage au bonnet rouge (Pouldu), now in Lausanne, Bucolique d’Automne subsequently featured in some of the most significant international exhibitions of its time: the 15th Exhibition of the Berlin Secession (1908), the Internationale Kunstschau in Vienna (1909), and the International Art Exhibition of the Munich Secession (1911). Its provenance is equally distinguished. Acquired directly from the artist in 1906 by Baron Eberhard von Bodenhausen, co-founder of the influential art journal PAN and a prominent collector of contemporary French painting, the work later passed through the galleries of Bernheim-Jeune and Philippe Reichenbach before entering the collection of Walter P. Chrysler Jr. A remarkable synthesis of Nabi modernity and classical idealism, Bucolique d’Automne marks a defining moment in Denis’s career, bringing together the decorative freedom of his early years and his enduring pursuit of compositional harmony and timeless beauty.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin This pastel will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); collection F., Paris
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?
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
Galerie Lowet de Wotrenge
Nicolaas Struyck (Amsterdam, 1686-1769) Insect studies Bodycolour, watercolour and pencil on laid paper 44.5 x 28.2 cm Provenance: 'Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior', 1719 (an album of drawings by Struyck, disassembled in the 19th century); private collection, Belgium
Willow Gallery
Eugène Boudin Honfleur 1824 – Deauville 1898 Bordeaux, le port Oil on canvas, signed, dated and inscribed 'E. Boudin 74 Bordeaux' Canvas size: 16 x 25in / 41 x 64cm Frame size: 22 x 31in / 56 x 79cm Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19. Jules Chédeville, Paris and Honfleur. Michel Durnerin, Paris (by descent). Then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, no. 978. G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (illustrated). R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, no. 978 (illustrated)