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Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
Galerie Raf Van Severen
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Décor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV In 1936, the French-language premiere of the monodrama Erwartung by Arnold Schoenberg was organized in the Palais des Beaux Arts in Brussels. And it was Jean Brusselmans who was commissioned with the design of the sets. In “Decor for Erwartung” we see the study for the 4th scene of the drama. During this scene the female protagonist, who is desperately on search for her lover, encounters a road in the middle of the forest. To her horror, she can only discover his lifeless body by the edge of a lonely house. Brusselmans’ typical painting style, where he grabs back to simplicity and clearly alienated figures, remarkably makes it easier to visualize how the sets must have looked during the actual play. It gives the viewer an endless source of imagination. Together with the history behind the work it makes an absolute masterpiece of “Decor for Erwartung’.
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title/verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October-13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January-16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007-2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009-22 February 2010
Laurent Schaubroeck
Rick Owens (USA, Porterville, 1961) Small Plug Table, 2013 Black stained plywood H 41 x W 140 x D 75 cm Stamped Rick Owens 02/08 Edition of 8 + 4 AP Produced in France A monolithic composition in black plywood, the Plug Table reflects Rick Owens’ uncompromising approach to furniture: reduced geometry, architectural weight and an almost brutalist sense of proportion.
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) Beetle frieze vase, 1912 White, lost-wax cast-molded glass with a grey patina H 16 cm Unique piece Not signed Provenance: Georges Charbonneaux collection, Paris (acquired direclty from the artist for 1000 francs in 1912); David Weinstein, New York (acquired from the descendants); private collection, London (acquired from the above) Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, CP13ter
COLNAGHI
Paul de Vos (Hulst 1595–1678 Antwerp) Deer hunt Oil on canvas 201 x 331 cm Signed lower right of centre, on a stone: P. De vos. fecit, this monumental canvas belongs to the large-scale hunting pictures for which Paul de Vos became known among seventeenth-century collectors. The picture’s scale and format place it within a group of large hunting compositions conceived for the principal rooms of aristocratic houses. Works of comparable dimensions by de Vos include the stag hunt now in the Royal Museums of Fine Arts of Belgium and the two hunts in the Museo del Prado. The latter are dated by the Prado to 1637–1640, when de Vos was working on the decoration of Philip IV’s hunting lodge, the Torre de la Parada. The present composition is distinguished within this group by its open diagonal movement and by the stag’s apparent escape: the animal runs towards the edge of the canvas, while the hounds are still negotiating the river. The absence of huntsmen, horns and weapons concentrates attention on the animals themselves. The painting is also characteristic of de Vos’s particular approach to animal subjects. His long-bodied hounds, their coats described in broken, light-catching strokes, and the comparatively open, atmospheric landscape distinguish his manner from that of Frans Snyders, with whom de Vos’s work was often confused. The two artists were closely connected: Snyders married de Vos’s sister Margaretha in 1611, and de Vos probably worked in his studio. De Vos also collaborated with leading Antwerp painters, supplying animal and still-life passages for compositions by Rubens, Van Dyck, Erasmus Quellinus and others. His independent reputation, however, rested chiefly on hunting scenes and animal pictures, many of them made for Spanish patrons. The early provenance of this canvas is well documented. It belonged to Diego Mexía Felípez de Guzmán, the first Marqués de Leganés, whose collection in Madrid comprised more than 1,300 paintings at his death in 1655 and was particularly rich in Flemish works. Leganés was an important patron of hunting pictures and a significant collector of de Vos. The painting is identifiable as no. 199 in inventories of his collection drawn up in 1637, 1642 and 1655. It is described there as a large painting of a stag fleeing from six dogs, by “Pedro de Vos”, the Spanish form of the artist’s name. Its dimensions in the inventory, two and a half Castilian varas high and four varas long, also correspond to the monumental scale of the surviving canvas. The inventory entry places it among a sequence of large hunts by de Vos, including works now known through the painting in Brussels and a boar hunt formerly in Aachen. Following the death of the third Marqués in 1711, the collection passed by inheritance to the Counts of Altamira. In their 1726 inventory, the painting is recorded in a room beside the oratory of the San Bernardo palace, between two boar hunts, as “un zieruo que ba huiendo de seis Perros” (“a stag fleeing from six dogs”). The Altamira collection was dispersed during the nineteenth century. By 1867 the canvas had entered the collection of José de Salamanca y Mayol, first Marqués de Salamanca, in Madrid. It appeared in the sale of his hôtel at 50 rue de la Victoire in Paris, held from 3 to 6 June 1867, as Chasse au cerf by Paul de Vos. Its documented association with the Leganés collection gives the painting particular historical importance. It is the only one of that collector’s great hunting scenes by de Vos known to survive apart from the related stag hunt now in Brussels.
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life.
Maison d'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams estate; sale Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th century, The Holy Family, lot 138
Galerie la Ménagerie
Georges Collard (Antwerp, 1881-1961) Scimitar Oryx, 1926 Bronze with dark brown patina and gold rims H 31 x W 54 x D 21 cm Signed and dated 'Georges Collard 1926' on the base Foundry stamp 'Batardy Bruxelles cire perdue' Model created and cast circa 1926 This sculpture of two antelopes is a fine example of the work of Georges Collard. The artist was the brother-in-law of Josuë Dupon, the renowned animal sculptor and one of the founding members of the Antwerp Artists and Sculptors Circle. This reclining scene is the result of careful observation, drawing us into an intimate moment between the two animals. It is a beautiful expression of stylized, highly expressive realism. This bronze was created in 1926, based on a pair of scimitar-horned oryx that lived at Antwerp Zoo and originally came from the Sahara Desert. These antelopes are now extinct in the wild. Thanks to the artist's talent and this exceptional casting by Batardy, Brussels, their presence has been immortalized in bronze.
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
Franck Anelli Fine Art
Antwerp school of the 16th century Mary Magdalene, circa 1540 Oil on wooden panel 47.7 x 32.7 cm Provenance: private collection, France Bust-length portrait, the sitter’s face slightly turned to the left, holding a gold cup. She wears a red dress with puffed sleeves and a green ribbon, adorned with gemstones and pearls, with ribbons set into the neckline and a necklace. Her blue-violet hat is trimmed with a ribbon decorated with a diadem motif.
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45.5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Dei Bardi Art
Daniel Mauch (Circle of) Bust of Saint Peter Upper Rhine, circa 1490 Walnut H 39.2 x W 49.5 x D 26 cm (with base) Provenance: private collection, Rhineland Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999-6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March-21 May 2000
Lemaire
Bust depicting Honoré-Gabriel Riqueti de Mirabeau Manufacture of the Comte d’Artois in Paris Paris, circa 1792 Hard-paste porcelain H 27 cm Honoré-Gabriel Riqueti de Mirabeau (1749-1791), was a French writer, diplomat, journalist, and politician, and a prominent figure of the French Revolution
Artimo Fine Art
Jean-Baptiste Auguste Clésinger (Besançon 1814-1883 Paris) Lucrèce mourante (The Death of Lucretia), 1868 White Carrara marble H 165 x W 206 x D 82 cm Signed and dated 'J. Clésinger Rome 1868' Provenance: Émile de Girardin (1802–1881), Paris; sale of the Émile de Girardin collection, Hôtel Drouot, Paris, December 1887, lot 176; private collection, Château de Vallière, Mortefontaine (Oise), France Literature: Catalogue des marbres, bronzes et terres cuites composant l’atelier de M. Clésinger, Paris, sale of 5 June 1868, lot 2, with a preface by Théophile Gautier; Catalogue de la vente des œuvres de M. Clésinger, Paris, Hôtel Drouot, 6 April 1870, lot 2; Catalogue de la vente de la Société des marbres et bronzes artistiques de Paris, 2-3 April 1883, lot 17 (mentioning the original marble belonging to M. de Girardin); Alexandre Estignard, Clésinger, sa vie, ses œuvres, Paris, 1900 Created in Rome between 1863 and 1867, Lucrèce mourante ranks among Jean-Baptiste Auguste Clésinger’s most ambitious monumental compositions. The sculptor depicts the Roman heroine at the moment when, having revealed the outrage committed against her, she has just taken her own life. Seated, her body abandoned, her eyelids half-open and her gaze turned upwards, Lucretia lets the dagger fall as her drapery reveals the fatal wound. Her loosened chignon, with several strands falling onto the nape of her neck, heightens the sense of abandonment that pervades the composition. The work combines a particularly sensitive observation of human anatomy with the nobility of a composition inspired by classical sculpture. In his preface to the 1868 sale catalogue, Théophile Gautier emphasised the expressive power of this figure, whose inner suffering is conveyed with remarkable restraint. Listed in the catalogues of the Clésinger sales of 1868 and 1870, the sculpture subsequently belonged to Émile de Girardin, the celebrated French journalist and politician. Its presence in his collection is confirmed by the 1883 catalogue devoted to Clésinger’s models, which explicitly states that the original marble belonged to M. de Girardin. The work reappeared in December 1887 at the Hôtel Drouot sale of the Girardin collection, before entering, at an as yet undetermined date, the collections housed at the Château de Vallière in Mortefontaine.
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Salomé Drapée, 1928 Bonze and marble base H 52.5 x W 49.5 x D 17.5 cm Signed 'Ph. Wolfers' Bears the foundry mark Montagutelli Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 426, n° 324 Exhibitions: Antwerp, 1929; Ghent, 1979
Dalton Somaré
Slit drum, nedundu Uele Region, Northeastern Democratic Republic of the Congo Early 20th century Wood with dark brown patina 52 x 122 cm Provenance: collection Monsieur H., (Agricultural Engineer), France, collected in situ before 1950; thence by descent; private collection, France; Sotheby’s, Paris, Arts d’Afrique et d’Océanie, 21 June 2017; private collection, New York
Van Pruissen Asian Art
Ban'ura Shogo (Nanao 1901-1982 Kyoto) Paper and writing box with pea plant design Japan, 1950-1960 H 20.8 x W 32 cm Signed Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail-20th century Japanese lacquer from the Ben Janssens collection, 2021 Exhibition: Japan museum SieboldHuis, 2021
