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Galerie Capazza
éric antoine
Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October to 7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, he uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols... These photographs without subjects question the very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process is here an emancipatory discipline. In an almost sculptural approach, he delivers true photograph-objects, shimmering and silvery.
Mearini Fine Art
Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Polychome sculpture of stucco and paper mache constructed around a wooden core Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005
Finch & Co
a fine and large late renaissance turned standing rhinoceros horn cup and ivory cover
A Fine and Large Late Renaissance Turned Standing Cup and Cover on Knopped Foot of Impressive Size Old smooth patina, age cracks to foot Rhinoceros Horn and Ivory German First Half 17th Century Size: 33cm high, 11cm dia (max) Belgium CITES 2025/BE01678/CE
Maison D'Art
François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640s Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, 16 June-16 July 2010, n° 5
Laurent Schaubroeck
Sergio Rodrigues (Rio de Janeiro, 1927-2014) Mucki bench, 1960s W 300 x D 60 cm Produced by Oca Provenance: private home, Brazil First conceived in 1958 and produced by Oca, the Mucki bench is among Sergio Rodrigues’ most versatile and emblematic designs. Its low, rectangular structure with latitudinal slats and rhythmically placed wood buttons reflects the refined balance between simplicity and sophistication that defines Rodrigues’ work. This exceptional example, measuring three meters in length and an unusual 80 cm in depth, was made to measure in the 1960s - an extremely rare proportion that highlights the adaptability of Rodrigues’ design to specific commissions. Executed in solid rosewood, the bench showcases the rich tonal variations and expressive veins of the wood, underscoring its sculptural quality. A remarkable and rare original, it remains in excellent vintage condition, testifying to the enduring relevance of Rodrigues’ vision.
Stéphane Renard Fine Art
sigismondo pandolfo malatesta
This vigorous graphite and stump drawing testifies to Ingres' interest in medals. Inspired by Pisanello's medal of Sigismund Malatesta, the great condottiere of Rimini, it bears witness to both Ingres' meticulous observation and his capacity for stylization, instilling in this drawing certain characteristic traits that we find in other works by the artist.
Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
HELENE BAILLY Paris-Genève
auguste herbin
Auguste Herbin (Quiévy 1882-1960 Paris) Nature morte à la nappe, 1937 Signed and dated lower right : Herbin ; 37 Provenance: Nicolas Poussin Gallery, Paris, 1957; Sam Josefowitz collection, Pully; Christie's Paris auction, October 2023 Exhibition: Paris, musée de Montmartre, Auguste Herbin, Le maître oublié, March 15-September 15, 2024
Floris van Wanroij Fine Art
jan borman the younger
Jan Borman the Younger Brussels Horseman of a Calvary in a Passion Altarpiece, probably Longinus First quarter of the 16th century Oak, carved in high relief, traces of gesso, with old restorations and on later base H 58 x W 40 x D 14.5 cm (incl. base) Provenance: private collection, Baden-Württemberg Literature: Debaene, M. (2019). Borman. a Family of Northern Renaissance Sculptors. A Family of Northern Renaissance Sculptors. Turnhout With art historical expertise by Drs. Marieke van Vlierden, Utrecht
Galerie Nathalie Obadia, Paris/Brussels
joris van de moortel
Joris Van de Moortel (Ghent, 1983) Music enjoys direct access to the soul, has an immediate echo of response since we have music within ourselves, 2025 Oil on linen and artist’s steel frame (3 panels) 200 x 220 cm Provenance: the artist's studio, Belgium Exhibition: Joris Van de Moortel, Le poids du ciel illumine la terre, Galerie Nathalie Obadia, Paris, France, 2025
Ars Antiqua
viviano codazzi and jan miel
Viviano Codazzi (Italy, 1604-1670) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Certificate of authenticity by Archivio Valerio Adami n° 878 Exhibition: Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March–17 May 2025
Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; Private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937 on page 206.
Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left : Emile Claus Dated and monogrammed on reverse : Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
Floris van Wanroij Fine Art
jan josefsz. van goyen
Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague) Winter landscape with skaters, elegant figures and kolf players on the ice in a village Oil on panel 13.6 x 26.8 cm Signed and indistinctly dated lower left ‘I.V. GOYEN. 162.‘ Provenance: anonymous sale, Drouot, Paris, 21 March 1874, lot 23 (Frs. 510), erroneously as a pendant to the consecutive lot; Collection Comte de Camondo, Galerie Georges Petit, Paris, 1 February 1893, Lot 6 (Frs. 1.700), were acquired by W. Gretor; anonymous sale, Drouot, Paris, 18 February 1895, Lot 13 (Frs. 750), were acquired by Lange; Collection G. Forbes, London (according to Dayot and Hofstede de Groot); Sale Jules Cronier, Galerie Georges Petit, Paris, 11 March 1908, Lot 88 (Frs. 1,200); With Kleinberger, Paris; Collection Eugène Max, Paris, from 1911 to 1927; Grange, Paris; Private collection Paris, from 1965; Anonymous sale, Sotheby’s, London, 1 March 1992, lot 36 (£ 101,200); John Mitchell, London, from 1993; Anonymous sale, Christie’s, Amsterdam, 20 November 2012, lot nr. 68 (211.000 Euro); Johnny van Haetfen Ltd., London, from 2014 (ref. VP4577), were acquired from the previous owner; Private collection, The Netherlands Literature: Dayot, A. (1911), 'Grands & petits maîtres hollandais, exhibition publication', Paris, n° 42; Martin, W. (1918), 'Alt-Holländische Bilder', Berlin, p. 51, fig. 25; Hofstede de Groot, C. (1927), 'A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century', London, Vol. VIII, p. 294, n° 1170; Beck, H.-U. (1972), 'Jan van Goyen 1597-1656', Amsterdam, Vol. II, p. 46, n° 88 (illustrated, erroneously as a pendant to n° 244) Exhibitions: Paris, Salle du Jeu de Paume, Grands & petits maîtres hollandais, 28 April-10 July 1911, n° 40 bis TEFAF Maastricht, 2014