24 - UARY 31 JANVIERRUARY 2027

BRUSSELS EXPO | HEYSEL

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Artworks

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Galeries
Galeries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI Costermans Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Desmet Fine Arts Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Galerie Cento Anni

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation

 

Kunsthaus Kende

Pair of George I Britannia silver tea caddies John Farnell, London, 1720 Engraved sterling silver H 12.5 cm 240.3 g and 237.4 g Provenance: private collection, North America The smooth, octagonal body merging into the correspondingly smooth shoulder. The lid finished with a twisted baluster. The base, which can be pulled out for filling, is only marked with a maker’s mark, the lid is unmarked. The bodies are hallmarked on the underside of the back. The contemporary coat of arms engraved on the front commemorates the marriage of a gentleman of the Dove family (who were based in East Burgholt in the county of Suffolk) and a lady of the Pierse family (whose family was based in Alston in the county of Warwickshire). An attractively preserved, early Britannia silver pair of tea caddies with a beautifully preserved, original surface.

 

Maison Rapin

robert goossens

Robert Goossens (Paris, 1927-2016) Table centrepiece, circa 1970 Rock crystal and patinated bronze H 24 x W 86 x D 8.5 cm

 

Galerie BA - Berthet Aittouarès

mark tobey

Mark Tobey (USA, Centerville 1890-1976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey

 

Herwig Simons Fine Arts

Wooden chef-d'oeuvre of the Compagnonnage France, 19th century Walnut, maple and mohogany wood H 185 cm Provenance: former private collection, France A fine, rare and large nineteenth-century wooden exhibition model, the chef-d'oeuvre of a master carpenter of the Compagnonnage. These models were made to show the technical expertise and skill of the master carpenter. The Compagnonnage is an old French guild with roots in the 12th century. In the eighteenth century, they incorporated symbols and rituals, many of which were borrowed from Freemasonry to create an initiatory progression for its members.

 

Artimo Fine Arts

charles-auguste fraikin

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.

 

Nosbaum Reding

melanie loureiro

Melanie Loureiro (Cologne, 1994) Where Hummed Intentions Drift, Ancient Bonds Persist, 2024 Oil on canvas 160 x 140 cm

 

Galerie de la Béraudière

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right 'Miró' Signed, dated and titled on the reverse:  MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby's, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie's, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné. Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d'oeuvre de la galerie et Surréalisme In Woman, Birds, Joan Miró unfolds a free and vibrant universe, where colour and line become forces in motion. Against a deep black background, reds, yellows and whites burst forth with an almost musical intensity. The artist condenses the essence of his language into this work: the spontaneity of gesture, the simplicity of form and the poetry of symbolism. The woman and the bird, emblematic motifs in his work, merge into a space that is both controlled and spontaneous. Created at the end of his life, this composition expresses the supreme freedom of an artist at the height of his powers.

 

Barbara Bassi

franco cannilla

franco cannilla

Franco Cannilla - Bracelet unique piece 1960's - Yellow gold 18 kt and diamonds - Ed Masenza Roma

 

Galerie Flak

Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.

 

robertaebasta

Max Ingrand for Fontana Arte (Bressuire 1908-1969 Neuilly-sur-Seine) Pair of wall lamps, Italy, 1950s Tapered brass fitting, blue beveled glass, frosted glass H 41.5 x W 17.5 x D 10 cm (each)

 

Heutink Ikonen

Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.

 

Beck & Eggeling International Fine Art

max ernst

Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)

 

Virginie Devillez Fine Art

gustave de smet

Gustave De Smet (Ghent 1877-1943 Sint-Martens-Latem) Nu couché, 1928 Pencil, pastel and oil on paper 35 x 43 cm Signed lower right 'Gust. De Smet' Provenance: Walter Schwarzenberg, Brussels (Georges Giroux sale, Brussels, 1-2 February 1932, lot 43); Tony Herbert, Kortrijk; private collection, Belgium (by descent to the present owner) Literature: Piet Boyens, Gust. De Smet. Chronicle et Analysis of the Work, Antwerp, Fonds Mercator, 1989, CR 744 (p. 386); The Tony Herbert Collection, Deurle, Museum Dhondt-Dhaenens, 2011, p. 39 (ill.) Exhibitions: Brussels, Galerie Le Centaure, Gust. De Smet, 1928, cat. n° 69; Brussels, Galerie George Giroux, Gust. De Smet, 1929, cat. n° 160; Luxembourg, Musée d’Art et d’Histoire; Tony Herbert Collection, 1963-1964, cat. n° 38

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1987 Charcoal on paper 107 x 74 cm

 

Galerie Watteeu by Edouard & Andrea de Caters

claudio salocchi

Claudio Salocchi (Milan, 1934-2012) Rotating bookcase 'Centro', 1960s Patinated teak H 213 cm - ∅ 78 cm

 

Florian Kolhammer

joseph maria olbrich

Joseph Maria Olbrich (Czech Republic 1867-1908 Germany) & Josef Hoffmann (Czech Republic 1870-1956 Austria) Secessionist side table, circa 1900 Solid maple, inlaid ebony and white metal H 70 x W 56 x D 56 cm Provenance: private collection, Austria Literature: Josef Maria Olbrich, Ideen von Olbrich, 2nd edition, Leipzig 1904, p. 67; Association of Austrian Visual Artists (ed.), Ver Sacrum.Vereinigung Bildender Künstler Österreichs (Hrsg.), Ver Sacrum. Mittheilungen der Vereinigung Bildender Künstler Österreichs, 1900, 1st issue, pp. 4, 9 & 15 Exhibition: displayed at the fifth exhibition of the Vienna Secession 1899 This elegant Secessionist side table was created around 1900 through the collaboration of two influential artists of Viennese Modernism: Joseph Maria Olbrich and Josef Hoffmann. The design of the table's body by Olbrich was first published in 1899 in 'Ideen von Olbrich'. The characteristic ornament was originally designed by Hoffmann as a decorative frieze for the fifth Secession Exhibition and documented in the magazine 'Ver Sacrum' (1900). It is highly probable that this furniture piece was specially created for this exhibition. Particularly noteworthy are the original design drawing by Olbrich and the ornament by Hoffmann. The exceptional quality and characteristic fittings strongly suggest production by the renowned Viennese art furniture workshop Portois & Fix, famous for numerous designs associated with the Vienna Secession, predominantly by Hoffmann.

 

Finch & Co

Gandharan Head of a Buddha Afghanistan, 3rd century AD Stucco with ‘earth pigment’ Some old ‘restoration’ to the nose H 26 x W 14.5 x D 14 cm Provenance: Michael Dollard, New York, USA; John Stephens, circa 1986, London, UK; thence by descent; private collection

 

Thomas Deprez Fine Arts

george minne

George Minne (Ghent 1866-1941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.' Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Brussels : Edition 'Cahiers de Belgique', 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze); Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster). Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble). Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry Van de Velde (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry n° 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' were exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.

 

Axel Vervoordt

Ptah-Sokar-Osiris figure Egypt, Ptolemaic period, circa 332-30 BC Painted wood and gesso H 53 cm Provenance: private collection Jean Martin-Roch, France, acquired before 1936; thence by descent; Rouillac Cheverny, 13 June 2014, lot 15; Sotheby's, New York, 8 December 2015, lot 32

 

De Wit Fine Tapestries

victor vasarely

Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder.  Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.

 

Citadelles & Mazenod

Les arts africains This book offers a renewed synthesis of African arts, enriched with an abundant iconography (over 560 illustrations) H 31 x W 24.5 cm Published by Citadelles & Mazenod in 2025

 

Galerie Dina Vierny

aristide maillol

Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53

 

Vagabond Antiques

Pair of Roman console tables Roman Neoclassical period, circa 1770 Veneer, Sienna marble, Breccia Africana marble H 90 x W 112 x D 56 cm Provenance: previously in the collection of Cardinal Vincenzo Vannutelli (1836-1930), Dean of the College of Cardinals; thence by descent; collection of the fashion designer Stefano Gabbana Each with a rectangular top butterfly veneer in richly figured Siena marble, edged in a contrasting band of Breccia Africana marble. The frieze is crisply carved with classical laurel swags, centres by rosettes and anthemion motifs and set against a punched ground to catch the light. The square corner blocks are decorated with stylised sunflowers. The tapering fluted legs are carved in three sections, with boldly gadrooned collars and stiff-leaf details above toupie feet. The carving is of sharp quality throughout, with well-preserved original gilding enhancing the architectural lines of the design.

 

Huberty & Breyne

nicolas de crécy

Nicolas de Crécy (Lyon, 1966) Brouillard, vers plan glacier, 2024 Watercolour, acrylic and gouache on paper 80 x 120.5 cm

 

Alexis Lartigue

simon hantaï

Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Catamuron, 1964 Oil on canvas 102 x 77 cm Signed and dated lower right 'Hantaï 64' Provenance: Galerie Jean Fournier, Paris; private collection, Paris

 

CKS Gallery

Salvador Dalí (Spain, Figueras 1904-1989) Nude ascending the staircase, 1973 Brown patina bronze sculpture H 212 × W 139 × D 117 cm - Height with the base: 297 cm Signed & numbered 'Dalí 2/8', Foundry mark 'Fratelli Bonvicini, Italie' on the shell Certificate of authenticity by M. Robert Descharnes and listed in the Descharnes Archives under the n° 0-264 Provenance: private collection

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1990 Oil on canvas 195 x 97 cm

 

d'Arschot & Cie

Pair of Belgian silver saucers Namur, 1737-1749 Nicolas Everard (Belgium, 1698-1736) W 24.2 cm - 373 and 374 gr

 

Epoque Fine Jewels

rené lalique

René Lalique (Ay 1860-1945 Paris) Detail of Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique Provenance: private collection, France

 
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