This section will be available this Autumn.
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115 cm Signed and inscribed on the reverse Certificate of authenticity issued by Mr. Jean-Marie Cusinberche Provenance: Galerie Guy Pieters, Belgium; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Circular tabletop in coloured marbles, circa 1835-1845 Approximately 200 specimens of coloured pebbles, Bardiglio marble and bronze Tabletop: Ø 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
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 at 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: 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. colour; The Hague 1998/99, without n°
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
Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
Cabinet of Curiosities
Ivory engine-turned cup Probably Augsburg, 17th century H 18.5 cm Provenance: private collection, Southern Germany Lignum Vitae engine-turned wassail bowl with cover England, 17th century H 31 cm Pair of Lignum Vitae counter-spheres Germany, late 17th-early 18th century Ø 9.5 cm Ivory engine-turned cup with cover Attributed to Johann Eisenberg (1600-1640) Dresden, 17th century H 43 cm Provenance: TEFAF 2026 Ivory engine-turned lidded vessel Southern Germany, 17th century H 12 cm Provenance: private collection, Germany; Mühlbauer collection, TEFAF 2026
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
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.
Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
Dries Criel
NYX Ring 18kt yellow gold, diamonds, spessartine and red enamel At the heart of the Nyx Ring, a vivid natural spessartine appears almost illuminated from within, its intense orange colour emerging against deep red enamel, natural white diamonds and 18kt yellow gold. Named after Nyx, the primordial Greek goddess of night, the ring explores the tension between darkness and light.
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse Kallir WV n° D 2223 Provenance: the artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Paravent, circa 1905 Padauk, brass and embroidered fabric H 146 x W 59 cm (each panel) Saint-Saëns series, produced by Serrurier et Cie Provenance: private collection, Liège Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy-un créateur précurseur-1858-1910, Paris, Faton, 2008 p. 200; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, p. 102; Art Nouveau Belge: Vers l’idéal (tome 3), 2024, Les Éditions du Musée Horta, pp. 163-164
Samuel Vanhoegaerden Gallery
Pierre Alechinsky (Brussels, 1927) L’Or du Rien, 1967-1968 Acrylic on paper mounted on canvas, and border in China ink on paper mounted on wood 210 x 295 cm Signed and dated lower right Signed, dated and titled on the reverse Provenance: Stéphane Janssen collection, Beverly Hills, USA; Sotheby’s London, Contemporary Art Part I, 1996; private collection, Brussels; Sotheby’s Paris, 2011; Galerie Lelong, Paris, France; private collection, Brussels Exhibitions: Bruges, Stadshallen, Triennale voor Plastiche Kunsten in Belgie, 1968, n° 6; Charleroi, Palace of Fine Arts, Prix de la critique, 1968-1969, n° 29; Brême, Ausstellung Kunsthalle Bremen, Pierre Alechinsky, Gemälde, 1958-1968, 1969; Brussels, Palace of Fine Arts, Pierre Alechinsky, 1969; Humlebaek, Louisiana Museum & Düsseldorf, Kunstverein (travelling exhibition); Antwerp, ICC-Internationaal Cultureel Centrum, Prijs van de Kritiek, 1969-1970; Cagnes-sur-Mer, IIème Festival International de la Peinture, 1970; Prix du Lauréat 1970, Deuxième Palette d’Or; Venise, Biennale Internazionale d’Arte di Venezia, Pavillon Belge, 1972; Darmstadt, Mathildenhöhe Darmstadt, Pierre Alechinsky, 1974; Rotterdam, Museum Boymans van Beuningen, Alechinsky 1965-1974, 1974-1975; Paris, Musée d’Art Moderne de la Ville de Paris, 1975 (travelling exhibition); Zurich, Kunsthalle, 1975; Pittsburgh, Carnegie Museum of Art, International Series, Alechinsky, Paintings and writings, 1977-78; Toronto, Art Gallery of Ontario, 1978 (travelling exhibition); Scottsdale, Scottsdale Center for the Arts, A Museum in the Making: Alechinsky and Alquin From the Janssen Collection of Fine Art, 1996; Dunkerque, LAAC (Musée de Dunkerque), October 2012-March 2013