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Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
Desmet Fine Arts
giovanni & giacomo zoffoli
Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449
Galerie Hurtebize
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Composition, Paysages et Fleurs, circa 1910 Oil on canvas 15 x 25.5 cm Initial R bottom left Certificate of authenticity from the Wildenstein Institute n°24.05.29/21585 dated 12 June 2024 Provenance: private collection, France
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
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Galerie Capazza
georges jeanclos
Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov
Repetto Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Topographie, January 1959 Oil on paper collage applied on paper [assemblage d’empreintes (huile noire)] 47 x 59 cm Certificate of authenticity by Galerie de l’Ile-de-France, Paris Provenance: Galerie de l’Ile-de-France, Paris; private collection, Italy Literature: Max Loreau (Ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XIX : Célébration du sol II, texturologies, topographies, Weber éditeur, Paris, n° 173
Maisonjaune Studio
ingo maurer
Ingo Maurer (Germany, 1932-2019) Hana Chandelier (Uchiwa collection), 1970s Bamboo, Japanese paper Provenance: Japan The Hana chandelier belongs to Ingo Maurer’s Uchiwa collection, created in the 1970s. Handmade in Japan from bamboo and Japanese paper fans, it radiates lightness and poetry. Its sculptural presence blends tradition with refined modernity. Exceptionally rare today, it stands as one of Maurer’s most iconic creations.
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
Virginie Devillez Fine Art
pierre-louis flouquet
Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., Serrurier-Bovy – un créateur précurseur – 1858–1910, Paris, Faton, 2008, p.166-167; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.
Guy Pieters Gallery
yves klein
Yves Klein (Nice 1928-1962 Paris) La Terre Bleue, 1957 IKB Pigment H 41 x Ø 29 cm Provenance: Galerie Bonnier, Geneva; private collection, Sweden Literature: P. Wember, Yves Klein, Cologne, 1969, p. 109, n° RP7 (another example ill.); P. Restany, Yves Klein, New York, 1982, p. 226 (another example ill.); J.P. Ledeur, Yves Klein: Catalogue of Editions and Sculptures Edited, Belgium, 1999, p. 242 (another example ill.); N. Charlet, Yves Klein, Paris, 2000, p. 230 (another example ill.); H. Weitemeier, Yves Klein: International Klein Blue, Cologne, 2001, p. 83 (another example ill.) Exhibitions: Paris, Centre Georges Pompidou Musée National d'Art Moderne, Yves Klein, March-May 1983, p. 109, n° 56 (another example exh.); Nice, Musée d'Art Moderne et d'Art Contemporain and Museo Pecci Prato, Yves Klein: Long Live the Immaterial!, April 2000-January 2001, p. 184 (another example exh. and ill.); Musée des Beaux-Arts d'Angers, Marie Raymond, Yves Klein, November 2004-February 2005, p. 190 (another example exh. and ill.)
unforget Decorative Arts
ado chale
Ado Chale (Brussels, 1928-2025) Dining table, circa 1970 Resin top inlaid with carnelian agate stones H 71.5 cm - Ø 173 cm This work is accompanied by a certificate of authenticity issued by Ado Chale This table features a backlit tabletop that enhances its sculptural presence and creates a refined play of light and shadow.
Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Stone Gallery
Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Hooigang, September 1964 Mixed media on canvas, mounted on wooden panel 106 x 124 cm Signed, dated and titled on reverse Provenance: D & R Hughes, London, 1989; private collection, Belgium Literature: Bram Bogart, The early years, 1951-1965, D & R Hughes, 1989, ill. n° 49
Willow Gallery
henri le sidaner
la neige
Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled 'The Red House'); Y. Farinaux-le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86
Finch & Co
Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum A fine and large late Renaissance turned standing cup and cover on knopped foot of impressive size The Milanese master instructor of turning Giovanni Ambrogio Maggiore visited Bavaria on various occasions between 1574 and 1593 to teach the Duke Wilhelm this newly invented form of art, creating marvellous objects from natural substances. Maggiore also trained the artist Georg Wecker who went on to become Dresden’s ‘court turner for life’ to the elector Augustus of Saxony in 1578. Regarded at the time as a form of advanced mechanical technology, the art of turning in ivory, ebony and rhinoceros horn became a princely pastime for ‘Drechselnder souverän’. Rhinoceros horn objects were regarded as items of great rarity and prestige in Renaissance Europe, but they had been seen as objects of great value with inherent magical properties for well over one thousand years before this time in China, and by the early 17th century Chinese cups and vessels of carved rhino horn were being exported to Europe to meet the demand for exotic curiosities for the cabinets of wealthy collectors.
Dei Bardi Art
Marcus Aurelius (121-180 AD) Inspired by the Ancient Roman Type III bust of the Emperor Northern Italy, late 16th century Marble H 22.5 x W 16 x D 11 cm H 35 cm (with red marble base) Provenance: private collection, South of France Carved in Northern Italy in the late 16th century, this refined marble head portrays Marcus Aurelius, revered as the emblematic 'philosopher emperor'. Deliberately modeled on the ancient Roman Type III portrait created at the outset of his reign (161–180 AD), it reflects the Renaissance passion for reviving imperial imagery. Its intimate scale points to a cultivated humanist milieu - likely a private studiolo or collector’s cabinet. Responding to antiquarian collecting and humanist scholarship, the sculptor reinterprets the imperial model as an exemplum virtutis for early modern audiences. Throughout the 16th and 17th centuries, scholars and collectors, deeply engaged with ancient texts and material remains, regarded imperial portraiture as a privileged vehicle of moral exemplarity and aesthetic perfection.
Maisonjaune Studio
Piero Palange (Italy, 1931-1975) Werther Toffoloni (Udine 1930-2017) Pair of '536' armchairs Rattan, foam, mohair velvet H 70 cm - Ø 95 cm Palange studied industrial design at the University of the Arts in Milan and worked with several leading Italian design firms (Motina, Gervasoni, Germa). Toffoloni trained in architecture at the Univeristy of Rome, specialised in industrial design with a focus on ergonomics and functionality. These two Italian designers played an important role in shaping postwar industrial design.
