This section will be available this Autumn.
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.
Dei Bardi Art
Daniel Mauch (Circle of) Bust of Saint Peter Upper Rhine, circa 1490 Walnut H 39.2 x W 49.5 x D 26 cm (with base) Provenance: private collection, Rhineland Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999-6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March-21 May 2000
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes. This Japanese suzuribako is a remarkable example of mid-Edo-period craftsmanship. Few works of art from this period have survived in such fine condition, and even fewer display such a rich variety of lacquer techniques. A writing box of this kind was most likely commissioned by a high-ranking member of the aristocracy, perhaps a bushi (warrior) or even a regional warlord (daimyo).
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
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
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
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Coco mangeant sa soupe, 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right 'Renoir' Provenance: Ambroise Vollard, Paris; private collection, Zurich, circa 1930; Fine Arts Gallery of San Diego, March 1942 (on loan from a private collection); Dalzell Hatfield Galleries, Los Angeles, 1943-1949; Van Diemen-Lilienfeld Galleries, New York, 1953; Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953; Worcester Art Museum, Massachusetts (inventory n° 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65; Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, n° 3415, p. 435 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, n° 269; San Diego, Fine Arts Gallery, 1942; Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, n° 5; Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel); Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016-22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February-15 May 2017) Pierre-Auguste Renoir’s Coco mangeant sa soupe (1905) is an intimate portrait of the artist’s youngest son, Claude, known as Coco, aged four, painted at Cagnes-sur-Mer in the South of France. Built from soft, flowing brushstrokes in warm oranges, pinks and reds, it shows Renoir’s late style at its most affectionate. The painting was exhibited at the Stedelijk Museum, Amsterdam, in Vincent van Gogh en zijn Tijdgenooten (1930) and at the Museo Thyssen-Bornemisza in Renoir: Intimidad (2016–17). Its provenance includes Ambroise Vollard and the Worcester Art Museum. A tender, closely observed portrayal of family life, it offers an intimate glimpse into the final chapter of Renoir’s career.
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Pair of armchairs ('ouvrier' series), circa 1904 Oak, black-painted iron and woven straw H 93 x W 50 x D 50 cm Produced by 'Serrurier et Cie' Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy 'un créateur précurseur' 1858-1910, Paris, Faton, 2008 p. 150; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, pp. 88-89 A true manifesto of Gustave Serrurier-Bovy’s principles, this pair of armchairs, illustrated in Art Décoratif in 1904, embodies the foundations of the artist’s thinking. Functionality, clarity, simplicity of materials and lines - the use of oak and a backrest secured with simple iron screws, initially functional and subsequently decorative, together with a rush seat - are all characteristic of his approach. His commitment to serial production, allowing his work to reach a wider audience, further demonstrates his progressive vision. Together, these elements place Gustave Serrurier-Bovy at the forefront of modernity.
Bernier/Eliades
Tony Cragg (Liverpool, 1949) Stand, 2025 Corten steel 115 x 36 x 108 cm He was a professor and the Universität der Künste Berlin (2001-2006), taught at the Kunstakademie Düsseldorf (1978-2001) before serving as its Director (2009-2013), and held the Chaire de Création Artistique at the Collège de France in Paris (2013-2014). Cragg was elected a Royal Academician in 1994, represented the United Kingdom at the Venice Biennale in 1988, and received the Turner Prize the same year. He was appointed Commander of the Order of the British Empire in 2002, received the Praemium Imperiale for Sculpture in Tokyo in 2007, was awarded the First Class Order of Merit of the Federal Republic of Germany in 2012, and was knighted in 2016. This year, Cragg is set to receive the European Culture Prize 2026 at the Royal Concertgebouw in Amsterdam. He is also the founder of Waldfrieden Sculpture Park in Wuppertal, where he exhibits works from different artists and different generations, such as Rebecca Horn, Berta Fischer, Anthony Caro, Heinz Mack, and Joseph Beuys, among others.
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: Roger Imbert collection Few images sum up Odilon Redon’s late manner as completely as this small panel. A woman’s profile, her head wrapped in a coif, rises from the heart of a flower as though she were its pistil; around her, reds, oranges and a pale, luminous ground dissolve the boundary between figure and bloom. Painted in oil on paper around 1901–1905, it belongs to the decisive decade in which Redon, after two decades of the charcoal noirs, turned to colour and transformed the hallucinatory visions of his youth into images of serene metamorphosis. The profile is Redon’s most personal format. Seen from the side and half-concealed, his faces never quite give themselves away: “At the centre of my work,” he wrote, “there is a small door that opens onto a mystery.” Here that door opens onto two motifs that run through his finest works of the period: the head within the flower, as in Fleur illuminée (Staatliche Museen zu Berlin, c. 1900), and the coif that reappears on male and female faces alike up to Moine lisant of 1914 (Kunst Museum Winterthur). Oil on paper, a support Redon used for some of his most intimate late pictures, gave him the velvety, floating surface of his pastels together with the depth of painting. The painting entered the collection of the Paris dealer Roger Imbert in 1930 alongside two Redons from the collection of Robert de Domecy, the patron for whom the artist painted the decorative panels now at the Musée d’Orsay, a provenance that places it in the circle of Redon’s closest early supporters. It will be included in the digital catalogue raisonné in preparation at the Wildenstein Plattner Institute. Coming to light as Redon’s colour works are being reassessed by major exhibitions in Winterthur, Gifu, Tokyo and at the Getty, Femme de profil offers what rarely reaches the market: a signed, intimately scaled Symbolist Redon in colour, in which the dream has become a flower.
