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F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)
Harold t’Kint de Roodenbeke
René Magritte (Lessines 1898-1967 Brussels) Lilith Original pencil drawing 14.6 x 9.8 cm Signed upper right Provenance: private collection, Paris Literature: Les Lèvres nues, 'Le cache sexe des anges', 1978, ill. p. 9; René Magritte, 'A lab of ideas', 8 may-4 september 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; Xavier Canonne, René Magritte, La ligne de vie, 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103. Exhibitions: René Magritte, 'A lab of ideas', 8 May-4 September 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; 'René Magritte, La ligne de vie', 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne - the nymph turned into a laurel tree to escape the god Apollo - comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Herwig Simons Fine Arts
17th century Door Lock with Christ and the Twelve Apostles Provenance: Former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Circular tabletop in coloured marbles, circa 1835-1845 Approximately 200 specimens of coloured pebbles, Bardiglio marble and bronze Tabletop: Ø 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
Rueb Modern and Contemporary Art
Alighiero Boetti (Turin 1940-1994 Rome) Cinque x Cinque Venticinque, 1988 Embroidery 21 x 22 cm Signed and inscribed n° 82769 on the reverse Certificate of authenticity issued by the Archive Boetti n° 10891 dated May 2026 Provenance: kunsthandel E.J, van Wisselingh & Co, Haarlem, the Netherlands
Marty de Cambiaire
Denys Calvaert (Antwerp circa 1540-1619 Bologna) Holy Family with Saint Jerome and the Infant John the Baptist Oil on copper 50.4 cm x 39.6 cm Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre Provenance: Von Planta Family, Samedan, acquired in the 1920s according to the family tradition (although it could have been acquired earlier); London, Sotheby’s, 3 December 2014, lot 18; private collection, Brussels
Waddington Custot
Hans Hartung (Lepzig 1904-1989 Antibes) T1982–R18, 1982 Acrylic on canvas 180 x 111 cm Signed and dated lower left ‘Hartung 82’ On the reverse, signed and dated lower right ‘Hartung 82’ Inscribed on the top stretcher ‘Fait le 8-3-82 HARTUNG T1982-R18’ This artwork is accompanied by a photo-document signed by Daniel Gervis and dated 10 November 2020 This artwork is recorded in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman, Antibes Provenance: Béatrice and Daniel Gervis collection, Paris (acquired directly from the artist in 1985); private collection, Paris Exhibition: ‘Hans Hartung Painter-Photographer’, Waddington Custot, London, 22 April-1 July 2022 (repro. in colour in catalogue p. 43, pp. [44–45] [detail], p.89); ‘Regards croisés’, Waddington Custot, Paris, 11 June-26 September 2026 Literature: Hartung, Pierre Daix, Bordas / Daniel Gervis and Éditions de Grenelle, Paris, 1991, catalogue n° 400 (rep. in colour p. 325)
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.