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Galeries Galeries AB & BA Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan Bailly Gallery Helene Bailly Baronian Barbara Bassi F. Baulme Fine Arts Galerie de la Béraudière Galerie Berès Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Galerie Van den Bruinhorst Cabinet of Curiosities-Honourable Silver Objects Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Claes Gallery Collectors Gallery Nicolás Cortés Gallery Cortesi Gallery Costermans & Pelgrims de Bigard 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 Gallery Desmet 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 Ralph Gierhards Antiques / Fine Art Gilden's Art Gallery Gokelaere & Robinson Galerie Hadjer Marc Heiremans Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Galerie Kaléidoscope Kunsthaus Kende Galerie Kevorkian Harold t’Kint de Roodenbeke Florian Kolhammer Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Galerie Marc Maison MARUANI MERCIER Galerie Mathivet Mearini Fine Art Meessen De Clercq Montagut Gallery Galerie Montanari Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth kunsthandel + galerie Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale ǀ Galerie Valérie Bach Pauline's Jewellery Box Galerie Alexis Pentcheff Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence QG Gallery Maison Rapin Stéphane Renard Fine Art Repetto Gallery Röbbig München robertaebasta Romigioli Antichità Rueb Modern and Contemporary Art Richard Saltoun Gallery Galerie Sophie Scheidecker Serge Schoffel - Art Premier Secher Fine Art & Design Segoura Fine Art Herwig Simons Fine Arts Stern Pissarro Gallery Studio 2000 Art Gallery Galerie Taménaga Galerie Theunissen & de Ghellinck Tobogan Antiques Galerie Patrice Trigano Univers du Bronze 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 Victor Werner Whitford Fine Art Willow Gallery Zebregs&Röell Fine Art and Antiques Zidoun-Bossuyt Gallery

Galerie Ary Jan

jean-gabriel domergue

Jean-Gabriel Domergue (Bordeaux 1889-1962 Paris) Elegant in Venice, 1922 Oil on canvas 120 x 85.5 cm Signed and dated lower right


Gallery Sofie Van de Velde

jean brusselmans

Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018


Meessen De Clercq

ellen harvey

Ellen Harvey (UK, Farnborough 1967) Souvenirs of Armageddon (Burning Tree), 2009 Oil on wooden panel 51 x 51 cm Provenance: the artist's studio


Giammarco Cappuzzo Fine Art

Giuseppe Vermiglio (Milan, circa 1587-circa 1635/1636) The sacrifice of Isaac, circa 1610-1618 Oil on canvas 132 x 162 cm Provenance: private collection, Italy Literature: Alessandro Morandotti, Gli anni romani di Giuseppe Vermiglio, in Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, exhibition catalogue Campione d’Italia, Galleria Civica, 10 September-3 December 2000, ed. by D. Pescarmona, Milan 2000, p. 45, fig. 23; Ferdinando Bologna, Tre note caravaggesche, Prospettiva, 33-36, 1983-1984 (Studi in onore di Luigi Grassi), pp. 204-207, fig. 5; Mina Gregori, Il Sacrificio di Isacco: un inedito e considerazioni su una fase savoldesca del Caravaggio, Artibus et Historiae, X, 1989, p. 141, note 16


Dr. Nöth kunsthandel + galerie

lotte laserstein

Lotte Laserstein (Preußisch Holland/Königsberg 1898-1993 Kalmar/Sweden) Head of a horse, 1934 Pastel on paper 56 x 45 cm Signed and dated upper right: Las. 1934 Certificate of authenticity by Anna-Carola Krausse, Berlin, July 2023


Heutink Ikonen

Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.


Galerie Van den Bruinhorst

William Hendrik Gispen (Amsterdam 1890-1981 The Hague) Saturnuslamp, Giso n° 2055, 1931 Executed by N.V. Gispen, Culemborg The Netherlands, 1945-1957 Matte brass nickel-plated pendant with an opal glass sphere and two frosted glass discs with bright edges H 105 x Ø 60 cm William Hendrik Gispen was a Dutch designer and manufacturer of modernist furniture and lighting. He was an important representative of the functionalist movement, promoting and selling modern interior designs at the beginning of the 20th century through his salesrooms in Amsterdam, Rotterdam, Brussels, Paris, London and Nottingham. This design was introduced in his lighting-catalogue 29 as n° 66 in 1931. It changed to no. 2055 in 1936, and later on the pendant was called ‘Saturnuslamp’ which means ‘Saturn-lamp’. The possibility to move around the world at high speed in cars, planes, trains but also rockets and space traveling were an inspiration for designers creating futuristic designs at the beginning of the 20th century. W.H. Gispen designed a lamp with two glass disks around an opal glass sphere that looks like the planet Saturn. Lighting by W.H. Gispen is part of the permanent collections of The Rijksmuseum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Stedelijk Museum Amsterdam, V&A Museum London, The MOMA in New York and the MFAH in Houston USA.


Floris van Wanroij Fine Art

Madonna and Child Malines, late Gothic, first quarter of the 16th century Walnut with original polychrome and gilding, marked with the ‘M’ mark in the front and Malines three-bar Guild mark on the reverse H 32.4 cm (incl. base) Recorded at KIK-IRPA, Brussels, object n° 11016890 Certificate of expertise by Mrs J. Zeberg, Vice-President of the Chambre Royale des Antiquaires de Belgique, dd. 1 February 1996 Provenance: J. Zeberg Antiques NV, Antwerp, TEFAF Maastricht 1996, acquired by private collection, Antwerp Literature: Exhibition catalogue 1996 TEFAF Maastricht. Den Bosch: The European Fine Art Foundation, p. 293, with ill.; F. Cayron & D. Steyaert, Made in Malines. Les statuettes malinoises ou poupées de Malines de 1500-1540. Étude matérielle et typologique, 2019; Brussels: KIK-IRPA, p. 150, ill. 3.55 Exhibition: TEFAF Maastricht, March 1996 This statuette of the Madonna and Child is a prime example of the Malines sculpture production of the early sixteenth century. The polychromy is attributed to the anonymous Maître aux fleurettes isolées (ca. 1501–ca. 1550). Cayron and Steyaert have identified three other sculptures with applied polychrome and gilding by this Malines master (2019, p. 150)


Galerie Montanari

Antique frame Oval frame with cherub on pediment, garland of flowers and laurels Carved wood and fine gold gilding Italy, 17th century 36.5 x 32 cm (outside)


Galerie Kaléidoscope

antonio recalcati

Antonio Recalcati (Bresso 1938-2022 Milan) Slip, 1961 Oil on canvas 80 x 60 cm Provenance: estate Antonio Recalcati Literature: (non exhaustive list) Jouffroy Alain, Les empreintes de Recalcati 1960-1962, Christian Bourgois, 1975; Recalcati, Dall' impronta all'immagine, exhibition catalogue, Palazzo Reale, Comune di Milano, Gabriele Mazzotta, Milan, 1987; Antonio Recalcati, exhibition catalogue, Galleria d'Arte Moderna Farsetti, Milan, 1990; Antonio Recalcati, 1959/1999-Mano a Mano, exhibition cat., Villa Tamaris, La Seyne-sur-mer, 1999; Antonio Recalcati-La passione della libertà, exhibition catalogue, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Grafiche Aurora, Milan, 2004; Antonio Recalcati, exhibition catalogue, Guttklein Fine Art, Paris, 2018 Exhibitions: (non exhaustive list) 1976, Paris, Centre National d'Art Contemporain/Musée National d'Art Moderne, Recalcati, Empreintes; 1987, Milan, Palazzo Reale, Recalcati-Dall' impronta all'immagine; 1990, Milan, Galleria d'Arte Moderna Farsetti, Antonio Recalcati; 1999, La Seyne-sur-mer, Villa Tamaris, Antonio Recalcati, 1959/1999-Mano a Mano; 2004, Milan, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Antonio Recalcati-La passione della libertà; 2018, Paris, Guttklein Fine Art, Antonio Recalcati The Galerie Kaléidoscope stand is dedicated to three painters from the figurative avant-garde in Paris in the 1960s and 1970s. It will feature something exceptional in the history of art: the first Slip Print made in 1961 by Antonio Recalcati (1938-2022). After beginning to make prints of his own body in oil paint in 1960, the following year Antonio Recalcati placed traces of his own clothes (shirt, pants, socks, pants, T-shirt, etc.) at the centre of his paintings. At the same time, Yves Klein was producing his beautiful Anthropometries, done in public and using the bodies of naked women as paintbrushes. On the other side of the Atlantic, Pop Art artists were also incorporating everyday objects into their paintings. But the references and atmosphere of Recalcati's paintings are radically different. The fruit of a hand-to-hand encounter between the painter and his canvas, in the solitude of the studio, these works have a dramatic tension that is offset by a singular luminosity and a great deal of vitality. In 2022, Galerie Kaléidoscope and Antonio Recalcati decided to embark on an ambitious process of rediscovery in France and abroad. Since the artist's death a year ago, she has represented the Estate, and will shortly be contributing to the launch of a catalogue raisonné of 60 years of painting. Antonio Recalcati was at the forefront of the great figurative renewal of the second half of the twentieth century, while constantly engaging in dialogue with his elders: from Etruscan painting to Picasso, via of course the masters of the Italian Renaissance.


Galerie von Vertes

sam francis

Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled (SF52-015), 1952 Gouache and oil on paper 60.9 x 49.2 cm Signed twice, dated and inscribed on verso 'Sam Francis SF PARIS 1952' Sam Francis Online Catalogue Raisonné of the Works on Paper, n° SFF5.134 Provenance: Gimpel Fils, London (1957); Margo Leavin Gallery, Los Angeles; private collection, California (acquired from the above); Minami Gallery, Tokyo (October 1977); Idemitsu Museum, Tokyo (accession n° 3449, June 1978); Sotheby's, New York, 15 November 2018, lot 212; private collection, London Literature: Kodansha, Contemporary Great Masters: Sam Francis. Tokyo: Kodansha 1994, p. 89 (ill. in colour pl. 63) Exhibitions: Pavillon des Arts, Paris, L’oeuvre de Sam Francis dans les collections du Musée Idemitsu, 18 September-16 November 1986, n° 6 (ill. in colour), weitergereist nach: Louisiana Museum of Modern Art, Humlebaek, Denmark, 29 November 1986-18 January 1987; Yayoi Gallery, Ogawa Art Foundation, Tokyo, 5 October–5 December 1987; Museum of Modern Art, Toyama, Japan, Sam Francis: From the Idemitsu Collection, 10 August-16 September 2002, n° 10 (ill. in colour p. 35), travelled to: Kawamura Memorial Museum of Art, Chiba, Japan, 28 September-10 November 2002; Museum of Art Ehime, Ehime, Japan,16 November-23 December 2002; Museum of Contemporary Art, Tokyo, 5 April-25 May, 2003; Iwaki City Art Museum, Fukushima, Japan, 3 June-6 July 2003; Oita City Art Museum, Oita, Japan, 13 September-26 October 2003


Zidoun-Bossuyt Gallery

eddy kamuanga

Eddy Kamuanga (Republic Democratic of Congo, 1991) L’esthétique du chaos 3, 2023 Acrylic and oil on canvas 198 x 200 cm


Klaas Muller

daniël seghers and cornelis schut

Daniël Seghers (Antwerp, 1590-1661) and Cornelis Schut (Antwerp, 1597-1655) Portrait of the Virgin and Child, supported by Cherubs with a Flower Garland Oil on canvas 127 x 104 cm Provenance: collection of Willem de Blasere, Lord of Hellebus, Ghent, circa 1635, and recorded in Seghers’ inventory as n° 135; Galerie Marcus, Paris, 1970-1974; private collection, Belgium Literature: Diary of Daniel Seghers in W. Couvreur, ‘Daniel Seghers’ inventaris van door hem geschilderde bloemstukken’, in Gentse bijdragen tot de kunstgeschiedenis, vol. XX, 1967, p. 112, n° 135; M.-L. Hairs, Pour un tricentenaire, D. Seghers, in revue Belge d’archéologie et d’histoire de l’art, Liège 1960; M.-L. Hairs, Dans le sillage de Rubens, les peintres d’histoire anversois au XVIIe siècle, Liège 1977, p. 213; M.-L. Hairs, The Flemish Flower Painters in the XVIIth Century, Brussels 1985, pp. 125–29, cat. n° 33, a detail reproduced p. 130; G. Wilmers, Corneli Schut (1597–1655): a Flemish Painter of the High Baroque, Belgium 1996, pp. 172–73, cat. n° A108, repr. p. 413 (erroneously as cat. n° A110); The golden age of Flemish painting. Taichung (Taiwan), 1988, p. 151 (repr. in colour) Exhibitions: Cologne, Wallraf-Richartz-Museum, 4 September–22 November 1992; Antwerp, Koninklijk Museum voor Schone Kunsten, 12 December 1992–8 March 1993; Vienna, Kunsthistorisches Museum, 2 April– 20 June 1993, Von Bruegel bis Rubens, n° 99.1; Taichung, National Taiwan Museum of Fine Arts, The Golden Age of Flemish Painting, 1988, n° 54 This collaboration between two important Flemish painters (Seghers painted the flowers, Schut was responsible for the putti and the cartouche) resulted in a beautiful painting with an exceptional story. Hairs related this work to work 'n° 119' from Daniel Seghers' inventory. This work was described in the diary of Philippe Chifflet (from the entourage of Cardinal Infante Ferdinand of Spain). Chifflet noted that Ferdinand visited Seghers in his studio where this work was presented to him (See: G. Wilmers, Corneli Schut (1597-1655): a Flemish Painter of the High Baroque, Belgium 1996, pp. 172-73). This is a great collaboration between two specialists in their genre: Schut's free 'Rubenesque' figuration is broken by Segher's hyperrealism and bright use of colour. Although the two painters retain their individuality and their own style, they reinforced each other in this work and built a composition together. (Schut and Seghers worked together several times during this period, resulting in several cartouches with putti).


Galerie Bernard De Leye

Pendant Trapani (Italy), 17th century Gold, coral and enamel H 10.5 x W 6 cm


Bailly Gallery

paul signac

Paul Signac (Paris, 1863-1935) La Rochelle, le phare, 1926 Watercolour and black chalk on laid paper 28.8 x 44.6 cm Signed, dated and titled lower left: P.Signac La Rochelle 1926 Certificate of authenticity issued by Françoise Cachin, dated December 16th, 1991 Provenance: collection of Gaston Lévy, Paris; Galerie Vildrac, Paris (label on the back); Galerie de la Présidence, Paris; private collection, Germany


Galerie Hadjer

fernand léger

Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Shell composition Conceived in 1938, realised in 1965 Wool Workshop Gisèle Glaudin-Brivet, Tapestry Aubusson/Savonnerie, Aubusson, France Fernand Leger on the back, bolduc workshop Unique piece H 262 x W 220 cm Certificate from the Comité Leger Provenance: private collection, USA


Galerie Jean-François Cazeau

André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.


Studio 2000 Art Gallery

theo van rysselberghe

Theo van Rysselberghe (Belgium, Ghent 1862-1926 Saint-Clair, France) Le ruban écarlate, 1906 Red chalk on paper 110 x 88 cm Signed with monogram and dated: Fev. 06 Provenance: private collection, Belgium; auction Christie’s, Amsterdam, 22 May 1991, lot 526; G. Gieseler (?), 1973; Galerie Druet, Paris Literature: A. Dreyfuss, Die Kunst fur Alle, 29, 1914, pp. 508-538; P. Fierens, TVR, Brussels, 1937; R. Feltkamp, Théo Van Rysselberghe. Catalogue raisonné, n° 1906-011 (ill.); R. Feltkamp, Théo Van Rysselberghe: Schilder van de zon, n° 59 (ill.). Exhibitions: Rotterdam, Rotterdamse Kunstkring, TVR (cat. n° 70) 23 October-21 November 1909; Groningen, Galerie Hofteenge, Picture TVR (cat. n° 56), 16 January–2 February 1910; Laren, Singermuseum, Théo van Rysselberghe. Schilder van de zon, 17 May–4 September 2022


Galerie Jamar

Jan Fabre (Antwerp, 1958) Zwaarden, kruisen en dolken III, 1989 Bic ballpoint pen on paper 218 x 150 cm - framed: 238 x 165 cm Signed and dated Literature: Jan Fabre, The Years of the Hour Blue, Drawings and sculptures 1977-1992, p. 154


Huberty & Breyne

gilles barbier

Gilles Barbier (France, 1965) Still Memory #4, 2023 Magazines, artificial plants, flocking, acrylic resin H 65 x W 57 x D 50 cm


Osborne Samuel Gallery

bram bogart

Bram Bogart (Delft 1921-2012 Sint Truiden) Agglomeration, 1959 Homemade paint on canvas H 95.3 x W 158 x D 5 cm Signed and dated lower right Also signed, dated and titled verso Provenance: Arthur Tooth Gallery, UK (March 1959); Martin Summers Art Ltd, London-J P Cochrane Collection (2005); Fine Art Society, London (2006); Rosenfeld Porcini, London (2017); Vigo Gallery, London (2022); private collection Exhibitions: 1960, Matter Painting, ICA, London (Bram Bogart, Lucio Fontana, Nicolas De Stael, Antonio Tapies, Jean Dubuffet, Jean Fautrier) (21 Sep-22 Oct, 1960); 2013, The Continuation of Romance painting an Interrupted discourse, Rosenfeld Porcini, London; 2017, Bram Bogart. Zonzucht, Vigo Gallery, London


Maurice Verbaet Gallery

francis dusépulchre

Francis Dusépulchre (Seneffe 1934-2013 La Louvière) Ondulations Spatiales, 1973 Lacquer on Masonite H 152 x W 152.10 x D 10 cm Provenance: collection Family Dusépulchre


Van Herck-Eykelberg

james ensor

James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’


Galerie Cento Anni

Philippe Wolfers (Brussels, 1858-1929) Eternelle idylle, circa 1911 Sketch in patinated bronze on a burgundy marble base H 30 cm Signed Philippe Wolfers with monogram Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 394 Exhibitions: Brussels 1911, n° 3; Milan 1926, n° 42; Brussels 1928, n° 31, Antwerp 1929, n° 30; Brussels 1972, n° 69


Harold t’Kint de Roodenbeke

Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)


Gokelaere & Robinson

hans-christian hansen

Hans Christian Hansen & Viggo Jørgensen (Denmark, 1901-1978 & 1902-1981) Pair of armchairs, 1936 Oak and fabric H 92 x W 80 x D 80 cm Manufactured by Johannes Hansen, Denmark Exhibition: Cabinetmaker Guild, Copenhague, 1936; Exposition Universelle, Paris, 1937


Galerie Kaléidoscope

fernand teyssier

Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität


Harold t’Kint de Roodenbeke

Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La danse macabre, 1934 Watercolour and ink on paper 59.5 x 75 cm Signed and dated lower right: Spy 2-34 Provenance: Walter Delvaux, artist family; sale Sotheby's, 6 February 2014, lot 469; private collection Important and early composition from 1934, a key year for Delvaux's development of his surrealist world © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024


De Zutter Art Gallery

heinz mack

Heinz Mack (Lollar, Germany 1931) Chromatische Konstellation, 1960 Oil on canvas 115 x 87 cm Provenance: collection of the artist Literature: Heinz Mack Zero-malerie catalogue raisonné 1956-1968


QG Gallery

leon polk smith

Leon Polk Smith (USA, 1906-1996) Constellation black and orange, 1972 Acrylic on canvas 120 x 84 cm in two parts Provenance: Galerie Denise Renée, Paris; private collection, Switzerland (acquired from the above in 1980)