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Axel Vervoordt
William Turnbull (Dundee 1922-2012 London) Young Torso, 1981 Bronze 49 x 28.5 x 3 cm Edition of 6, AP 1/1 Provenance: the estate of the artist Literature: Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, 2005, cat. n° 205, ill. p. 154 William Turnbull (1922–2012) was one of the most distinctive sculptors and painters of post-war Britain. Throughout his career, he explored the enduring power of ancient and archaic art, seeking an elemental visual language that connects the distant past with the present. In Young Torso, Turnbull revisits the archetypal figures and totemic forms that fascinated him from the 1950s onwards. The simplified silhouette evokes prehistoric figurines and ancient idols, yet belongs to no specific culture or belief system. Both familiar and mysterious, the sculpture seems to speak a universal language whose meaning remains elusive. The warm brown patina and irregular surface suggest weathered stone, while delicate incisions recall tattoos or fragments of an unknown symbolic language. These markings animate the figure, hinting at lost rituals and traditions. Reflecting Turnbull’s sensitivity to surface, line and colour, the textured bronze combines tactile richness with formal simplicity. Neither an imitation of an ancient artefact nor a purely abstract form, Young Torso occupies a space between recognition and mystery. Through the encounter between archaic references and modern expression, Turnbull evokes humanity’s enduring desire to create forms that transcend time and preserve traces of our existence.
Francis Janssens van der Maelen
Luigi Genazzi (Milan, 1876-1946) Art Deco vase, 1930 Silver 800, 2.900 gr 35 x 32 cm Hallmarked and signed by the artist Large hammered silver vase or wine cooler, embellished with two geometric handles and enhanced by a finely detailed decorative design. A testament to Milanesità - the elegance and timeless character of Milanese silversmithing. Bearing the hallmarks of the silversmith Luigi Genazzi and his signature.
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F. Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, repr. b/w
Epoque Fine Jewels
Van Cleef & Arpels Pair of earrings (clip fittings), 1971 18k yellow gold, diamonds , corals and chrysoprase 8.5 x 1.87 cm Signed VAN CLEEF & ARPELS and numbered An exceptional pair of gem-set earrings by Van Cleef & Arpels, made in 18 karat yellow gold, each composed of a large coral cabochon at the top, surrounded by brilliant-cut diamonds and chrysoprase cabochons. Each earring suspends a striking tassel featuring a domed coral cap set with brilliant-cut diamonds, from which hang seven strings of chrysoprase beads interspersed with rose-cut diamond rondelles. The strings terminate with coral and gold beads. Total diamond weight: approximately 12 ct. These Van Cleef & Arpels earrings from 1971 are exceptionally rare, embodying unparalleled craftsmanship and luxury. The bold combination of coral, chrysoprase and diamonds is both exquisite and uncommon, while their intricate tassel design reflects the golden era of Haute Joaillerie. Signed and numbered by one of the most prestigious jewelry houses, they are true collector’s items, akin to owning a piece of history - ‘Elizabeth Taylor-level’ rare.
COLNAGHI
Robert Mapplethorpe (New York 1946-1989 Boston) Female torso, 1978 Silver gelatin photograph 50.8 x 40.6 cm Made in 1978, the photograph belongs to a life-long dialogue in Mapplethorpe’s work between photography and sculpture. The subject would later serve as the opening image of his 1989 volume Some Women, where its classical reference establishes a point of comparison for the contemporary women portrayed in the book. The photograph was produced in an edition of ten. Impressions of the image are held in major public collections, including the J. Paul Getty Museum and the Los Angeles County Museum of Art. The documented provenance of this impression begins with the Robert Mapplethorpe Foundation in New York, from which it passed into a private collection in Belgium.
Dalton Somaré
Slit drum, nedundu Uele Region, Northeastern Democratic Republic of the Congo Early 20th century Wood with dark brown patina 52 x 122 cm Provenance: collection Monsieur H., (Agricultural Engineer), France, collected in situ before 1950; thence by descent; private collection, France; Sotheby’s, Paris, Arts d’Afrique et d’Océanie, 21 June 2017; private collection, New York
Galerie Boulakia
Hans Hartung (Leipzig 1904-1989 Antibes) T-1972-H5, 1972 Acrylic on canvas 65 x 92 cm Signed and dated lower right This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1972-H5, and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Maeght, Zurich, 1973; private collection, Geneva Literature: Peter Althaus, Hans Hartung Peintures récentes, Exhibition catalogue for Galerie Maeght, Zurich, 1973 Exhibition: Hans Hartung Peintures récentes, Galerie Maeght, Zurich, 1973
Galerie Berès
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) 'Composition pour les Illuminations d'Arthur Rimbaud', 1949 Gouache and ink on paper 33 x 24 cm Monogrammed and dated lower right 'F.L.49' Certificate of authenticity by the Comité Fernand Léger Certificate of authenticity by Irus Hansma Provenance: private collection, Paris
Galerie Capazza
Goudji (Georgia, Borjomi, 1941) Coupe ovale à l'oiseau bleu à la crinière verte, 2025 Sterling silver 925 (1,976 gr), sodalite, aventurine, serpentine, porphyry H 12 x W 70 x D 28 cm Total weight 2,980 gr Bears the master's mark Provenance: the artist's studio Exhibition: exhibited at galerie Capazza
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd-4th century) Central-southern Italy, late 12th-early 13th century Greek marble H 52 x W 50 x D 50 cm In this unusual variation of the Corinthian capital, three tiers of acanthus leaves, finely detailed with visible drill holes, extend to the top of the kalathos. This type of capital was already being exported to Aquileia (Udine) in antiquity. The city was destroyed by Attila in 452 and temporarily abandoned following the arrival of the Lombards in 568, as evidenced by a fragmentary example dating from the 3rd-4th century, now preserved in the National Archaeological Museum.
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a Peulh woman, 1930 Fine Swedish granite H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Provenance: private collection, France Exhibitions: Société coloniale des artistes français, 1930, n° 101; Office privée des colonies, 34 rue Pasquier, Paris 8th arrondissement, until 19 December 1930
Galerie Alexis Pentcheff
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) La maison sous l'église, neige, Gerberoy, circa 1935 Oil on canvas 80 x 66 cm Signed lower left This work will be included in the forthcoming catalogue raisonné of the artist currently in preparation by Yann Farinaux-Le Sidaner Provenance: given by Le Sidaner to Henri Martin in the summer of 1935, during the visit of Henri Martin in Gerberoy; Henri Martin succession
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill. b/w Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
Serge Schoffel - Art Premier
Pendant depicting a trophy head Konyak Naga Northeastern India, 19th century Wood and glass beads H 7 cm Provenance: Alain Schoffel, Paris, France; Philipp Konzett, Vienna, Austria Literature: Schoffel, Alain, Arts Primitifs de l'Asie du Sud-Est, Alain and Françoise Chaffin, eds., Meudon 1981, p. 30
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait of Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51.5 x 61.5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collée sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965 The subject of the self-portrait is a recurring theme throughout Rik Wouters’ artistic career. Throughout his life, he produced numerous paintings and sculptures depicting himself, offering insight into the evolution of his artistic style as well as changes in his physical appearance. These works range from one of his earliest self-portraits, characterised by its darker palette, to a painting from the final years of his life, when he had lost an eye as a result of his deteriorating health. The painting 'Portrait of Rik Wouters, Chemise Blanche' was created in 1912, the year of his artistic breakthrough, when he became the first Belgian painter to sign an exclusive contract with the renowned Galerie Georges Giroux. The painting depicts Wouters in a particularly serene setting, with little to no discernible emotion on his face. This sense of restraint is further emphasised by the Fauvist technique, which favours broad areas of colour over intricate details. Following Wouters’ death, the painting remained in Nel’s possession, reflecting the particular personal significance she attached to the work.
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres transforming the old woman’s son into a lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
Waddington Custot
Jean Hélion (Couterne, Rives-d'Andaine 1904–1987 Paris) Homme au chapeau, 1943 Oil on canvas 58.1 x 43.1 cm Signed and dated on reverse ‘Hélion va 43’ This work is recorded in the online catalogue raisonné de l’oeuvre peint de Jean Hélion, n° 876 (http://www.helion-cat-rais.com/moteur/pop.php?id=1216) Provenance: John Ashbery, New York (directly from the artist); Connaught Brown, London Exhibitions: ‘Jean Hélion’, Spencer A. Samuels & Co., Ltd, New York, 7 April–22 May 1976, catalogue no. 8 (repro. In b&w); ‘Works from the Collection of John Ashbery’, Kasmin Gallery, New York, 1 November–22 December 2018; ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024
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