This section will be available this Autumn.
Willow Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Esquisse pour ‘Le Shofar’, 1976 Pastel, gouache and graphite on paper 48 x 31 cm - framed 76 x 59 cm Signed. Executed Sils, winter 1973 This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
Valerio Turchi
Torso of Mercury 1st-2nd century AD Marble H 29 x W 21 x D 13 cm Accompanied by Art Loss Register certificate: S00217924 Provenance: English private collection, acquired in 1988; Bonhams, London, 21 April 2005, lot 203; Axel Vervoordt Gallery, Belgium; American private collection, acquired from the above
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
TEMPLON
françois rouan
François Rouan (Montpellier, 1943) Pavane IV, 2018-2019 Oil on braided canvases 200.5 x 170 cm - framed 206 x 175 cm Unique piece Provenance: the artist's studio Literature: Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 23), published by TEMPLON 2023
Alexis Lartigue
René Magritte (Lessines 1898-1967 Brussels) Les Grâces naturelles, circa 1953 Red chalk on paper 47 x 36.7 cm Signed lower right Signed and titled on the reverse lower right Certificate of authenticity by Comité Magritte Provenance: La Sirène gallery, Brussels; private collection; sale Sotheby's, Paris; private collection, Paris 'If we imagine young girls blossoming, we can also acknowledge a bird in bloom. The emergence of this bird is as delightful as the sunrise'. René Magritte The bird-plant in this beautiful chalk drawing, Les Grâces naturelles, is an emblematic and recurring theme of Magritte's art. This particularly graceful model of metamorphosis was cquired from the Belgian artist in 1953 by Raymond Becquevort, founder of the La Sirène gallery in Brussels. Frequented by Ponge, Artaud and Michaud, it was a major hub for the surrealist intelligentsia; a place where words discovered images. Magritte began developing the theme of the bird-plant in 1942, when Belgium was under Nazi occupation. He adapted this theme into infinite variations moving from chalk to gouache, then onto canvas. So often symbols of hope, here birds are poetic and neurasthenic metaphors. The assimilation of the naturally-mobile bird with the plant that is rooted deep in the earth, contributes to a troubled state of mind.
Galerie Hadjer
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Autumn Leaves, 1971 Aubusson tapestry woven by the Pinton workshop, France Wool and silk Original cartoon from 1971 170 x 240 cm Edition of six + two artist proofs - AP Provenance: Pinton workshop; private collection, France Exhibition: Victoria and Albert Museum, Collection, London
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
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Mearini Fine Art
Venetian Master (Michele Linder from Hamburg?) Crucifix, circa 1490 Alder wood H 115 x W 92 x D 16 cm Recto and verso hollowed out and juxtaposed to recompose the figure Expertise Prof.ssa Serenella Castri Provenance: private collection, Italy Exhibition: 'Sculptura' Capolavori Italiani dal XIII al XX secolo, Modena 2023 This is an absolute masterpiece in the corpus of wooden Crucifixes of the late fifteenth century in Venice. This is a sculpture of exceptional technical skill. The ‘construction’ technique is unique: the figure of the Christ has been obtained from two alder wood valves hollowed out and then fitted together more then perfectly. Even more emblematic is the dramatic introspection of its carving, whose executive value is comparable to that of ivories, and, above all we can date it to circa 1490, the apex of the Venetian Renaissance. In Venice, the reference model for the production of wooden crucifixes was the famous monumental Crucifix (ca.1468/75) of the basilica of Santa Maria Gloriosa dei Frari, from which a varied series of examples derived until the first decades of the sixteenth century. The expressive suggestion of ‘German’ models certainly contributed to the very original characteristic of these sculptures, especially thanks to the presence in Venice of skilled carvers from Northen Europe. The attribution to Michele Linder from Hamburg, resident in the district of Santi Marcuola and Fortunato, has been strongly corroborated. Linder was one of the most estemeed wood carvers in Venice and the most famous sculptor of ivory crucifixes.
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) The Angel appearing to the Shepherds, 1634 Etching, engraving and drypoint on laid paper 26.4 x 22.1 cm Signed and dated lower right ‘Rembrandt f. 1634’ With a 3-4 mm wide margin around the borderlines On laid paper with watermark: 'Seven Provinces' (sub-variant D.a.), cf. Erik Hinterding, Rembrandt as an etcher. Catalogue of watermarks (words), vol. II, p. 253 (1634) Provenance: private collection, Germany; Karl & Faber, Munich; private collection, The Netherlands; Douwes Fine Art, Amsterdam Literature: Bartsch 44; White/Boon 44; The New Hollstein Dutch 125 Third state (of VI); Nowell-Usticke C 2; plate in existence in the Thrivent Collection of Religious Art in Minneapolis, MN, USA
Van Herck-Eykelberg
James Ensor (Ostend, 1860-1949) Rotundités (1936-1937) Oil on canvas 51 x 61 cm Signed lower right Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713 Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024
Galeries AB & BA
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132
Galerie Lowet de Wotrenge
Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023