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Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.
Brame & Lorenceau
marie laurencin
Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
Grusenmeyer-Woliner
flute stopper Wunear Biwat (Mundugumor), Yuat River, late 19th - early 20th century Papua New Guinea Wood, feathers, shell H. 64 cm ( 85 cm including the base) Provenance: Charles Ratton; Kamer Gallery, acquired in 1966 by Emiel Veranneman; Emiel Veranneman; Thence by descent Literature: Rotary Club Sint-Niklaas, Oude Kunst uit Afrika en Oceanie, Exhibition catalogue, Sint-Niklaas, May 5-20, 1979, n° 31; Veranneman Emiel, Visie & Passie, 2002, pp. 72-73 Exhibition: Oude Kunst uit Afrika en Oceanië, Ex-Libriscentrum, Sint-Niklaas, 5–20 May 1979, Rotary Club Sint-Niklaas
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds. This exceptional Art Nouveau choker necklace by René Lalique (circa 1905, Paris) exemplifies his revolutionary use of glass in fine jewelry. The piece features six molded amber glass plaques decorated with intertwined thistle flowers, enhanced by diamonds and yellow and brown enamel on gold. The thistle flower motif, emblem of Lorraine and the Dukes of Lorraine, symbolizes courage and protection, reflecting the regional heritage of Nancy, where the original owner was a notable social figure likely to have commissioned it directly from Lalique. Created during the period when Lalique moved his shop to 24 Place Vendôme, the necklace illustrates his transition from Art Nouveau to early Art Deco, blending naturalistic design with modern aesthetics. Its autumnal hues, sunlit enamel details, and radiant diamonds evoke both poetic beauty and symbolic depth. Lalique drew inspiration from wild flora rather than cultivated blooms, favoring authenticity and imperfection as expressions of nature’s truth. This necklace, long preserved in a French private collection and once known only through drawings (including one published by Sigrid Barten), is a rare surviving example of Lalique’s innovation. It demonstrates his mastery in merging craftsmanship, symbolism, and modernity, affirming his reputation as the “inventor of modern jewelry.”
Gilden's Art Gallery
Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan
Galerie Mathivet
claudius linossier
Claudius Linossier (Lyon, 1893-1953) Vase, circa 1930 Copper dinanderie on a fire-patinated ground with red tones in the central section and black shading at the top and bottom, decorated with an inlaid silver frieze and silver triangles H 18 cm - ∅ 18 cm Signed 'Linossier'
Univers du Bronze
Emile-Antoine Bourdelle (France, 1861-1929) Beethoven à la colonne aux yeux fermés (1901) Studio plaster as 'à bon creux' H 62.4 x W 32 x D 28.3 cm Signed in relief 'Bourdelle' in the mould. Artist example detailled on the front in autograph writing '"Moi, je suis Bacchus... le nectar délicieux, Beethoven", dedicated on the base on the left " A Mlle Henriette Charasson, très sympathiquement, E.A.Bourdelle", example reworked by him (with letters from the sculptor to the patron). Cast in 1910
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Edouard Simoens Gallery
christo and jeanne-claude
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall) Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167
Francis Janssens van der Maelen
Maurice Daurat (Bordeaux 1880-1969 Meulan-en-Yvelines) Art Deco table centrepiece Paris, circa 1927-1931 Sterling silver, Macassar ebony, marble H 42.5 x W 104 x D 20 cm This striking early 20th century French silver and alabaster centrepiece on a Macassar ebony base is a superb example of Art Deco design. Designed by Maurice Daurat in Paris, circa 1927-1931. Maurice Daurat was famous for his limited editions and large commissioned works. His style is characterised by geometrical, strict shaping, emphasising volume and material.
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Heutink Ikonen
Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.
Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Thomas Deprez Fine Arts
franz binjé
Franz Binjé (Liège 1835-1900 Brussels) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'
Hartford Fine Art - Lampronti Gallery
Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020
Dei Bardi Art
Marcus Aurelius (121-180 AD) Inspired by the Ancient Roman Type III bust of the Emperor Northern Italy, late 16th century Marble H 22.5 x W 16 x D 11 cm H 35 cm (with red marble base) Provenance: private collection, South of France Carved in Northern Italy in the late 16th century, this refined marble head portrays Marcus Aurelius, revered as the emblematic 'philosopher emperor'. Deliberately modeled on the ancient Roman Type III portrait created at the outset of his reign (161–180 AD), it reflects the Renaissance passion for reviving imperial imagery. Its intimate scale points to a cultivated humanist milieu - likely a private studiolo or collector’s cabinet. Responding to antiquarian collecting and humanist scholarship, the sculptor reinterprets the imperial model as an exemplum virtutis for early modern audiences. Throughout the 16th and 17th centuries, scholars and collectors, deeply engaged with ancient texts and material remains, regarded imperial portraiture as a privileged vehicle of moral exemplarity and aesthetic perfection.
Victor Werner
carl johan bonnesen
Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner
Maurice Verbaet Gallery
paul van hoeydonck
Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025
Martos Gallery
keith haring
growing suite, 1988
Screen print on Lenox Museum board Signed and dated with edition in graphite along right edge of sheet; retains Martin Lawrence Limited Edition and printer's blind stamps lower left edge of sheet 40 x 30 in: 101.6 x 76.2 cm 47 x 37 in; 119.4 x 94 cm (framed)