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Galerie Boulakia
Hans Hartung (Leipzig 1904-1989 Antibes) T-1972-H5, 1972 Acrylic on canvas 65 x 92 cm Signed and dated lower right This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1972-H5, and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Maeght, Zurich, 1973; private collection, Geneva Literature: Peter Althaus, Hans Hartung Peintures récentes, Exhibition catalogue for Galerie Maeght, Zurich, 1973 Exhibition: Hans Hartung Peintures récentes, Galerie Maeght, Zurich, 1973
Galerie des Modernes
Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Certificate of authenticity by Pierre-François Moget To be included in the forthcoming catalogue raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget Provenance: the artist’s studio, Cachan; private collection, The Netherlands; private collection, France
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
Dries Criel
EOS Ring Sandblasted 18kt yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. She who brings the first light of day, casting a golden glow across the horizon before the world awakens. A symbol of renewal, radiance, and quiet transformation. Crafted in sandblasted 18kt yellow gold, the ring carries a serene warmth. Its matte surface evokes the first rays of morning light diffused through the atmosphere - gentle, luminous, and timeless. Rather than reflecting light sharply, the gold seems to hold it within, creating a subtle glow that feels both ancient and contemporary. At its centre rests an elongated, natural, step-cut diamond. Surrounding white diamonds accentuate the composition, enhancing the contrast between the softness of the gold and the crystalline purity of the central stone.
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
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’.
La Galerie URBAN
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Tête de Coco, 1903 Oil on canvas 36.3 x 32 cm Signed lower right 'Renoir' This work is accompanied by a certificate of authenticity from the Wildenstein Plattner Institute n° 20.12.11/20770 Provenance: Maurice Gangnat, Paris (before 1919-1924, acquired from the artist); estate of Maurice Gangnat, France; sale catalogue des tableaux composant la collection Maurice Gangnat: 160 tableaux par Renoir, œuvres importantes de Paul Cézanne, tableaux par E. Vuillard, Paris, Hôtel Drouot, 24-25 June 1925, n° 41 (ill.); Philippe Gangnat, Europe (acquired at the time of the above sale); private collection, Europe (circa 1996); thence by descent; La Galerie Urban, Paris Literature: J. Meier-Graefe, Auguste Renoir, Munich: R. Piper & Co., G.M.B.H., 1911, ill. p. 168 under the title Coco; J. Meier-Graefe, Auguste Renoir, Paris: Floury, 1912, p. 164 (ill.); J. Meier-Graefe, 'Die Sammlung Gangnat', Kunst und Künstler. Illustrierte Monatsschrift für Kunst und Kunstgewerbe, n° 13 (1924-1925), pp. 348-356; J. Meier-Graefe, Renoir, Leipzig: Klinkhardt & Biermann Verlag, 1929, p. 280, n° 295 (ill.); G.-P. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV: 1903-1910, Paris: Bernheim-Jeune, 2012, p. 427, n° 3400 (ill.) Exhibitions: Chefs-d'œuvre de Renoir dans les collections particulières françaises. Exposition organisée au profit de la Ligue contre le Taudis, Paris, Galerie Beaux-Arts (Wildenstein), 10-27 June 1954, n° 66 under the title Coco Fragonard; Renoir: Collection Maurice Gangnat, Paris, Galerie Durand-Ruel, 1 July-1 September 1955, n° 15; Renoir, Düsseldorf, Kunsthalle, 1 January-31 December 1956, n° 15; Auguste Renoir, Vevey, Musée Jenisch, 7 July-30 September 1956, p. 25, n° 42; (?) Renoir, Paris, Galerie M. Knoedler & Cie, 7 June-15 September 1966, n° 16
Galerie Lowet de Wotrenge
Nicolaas Struyck (Amsterdam, 1686-1769) Insect studies Bodycolour, watercolour and pencil on laid paper 44.5 x 28.2 cm Provenance: 'Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior', 1719 (an album of drawings by Struyck, disassembled in the XIXth century); private collection, Belgium
Marjan Sterk Fine Art Jewellery
Claude Lalanne (Paris 1925-2019 Fontainebleu) 'Entrelacs' hinged bangle bracelet Paris, circa 1980-1990 18k yellow gold Signed Claude Lalanne Numbered 19/50 and bears the signature of Artcurial, Paris An eighteen carat yellow gold hinged bangle ‘Entrelacs’ designed as organically curling branches between which seven hydrangea flowers, with hinge and catch lock hidden in one of the flowers.
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.
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, circa 1956 Oil on canvas 130 x 89 cm Signed lower left The authenticity of this work is confirmed by Alexis Poliakoff and is registered in the Archives Serge Poliakoff, Paris, under n° 95604 Provenance: Etta & Otto Stangl collection, Munich (1971); on permanent loan to Bayerische Staatsgemäldesammlung, Munich (1971-2001); Stangl collection estate, Munich (2001-2003); Sotheby's, London (auction 6 Februrary 2003, lot 21); Galerie Bernard Cats, Brussels; Willy d'Huysser Gallery, Brussels (2003); private collection Belgium; Frans Jacob Fine Art, Amsterdam; Galerie Interart, Geneva (2016); Galerie Pascal Lansberg, Paris (2024); private collection Hesse Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 56-63; Connaissance des Arts (Hg.), 'Connaissance des Arts', n° 609, October 2003, p. 137; Marchiori, Giuseppe (Hg.), 'Serge Poliakoff. témoignages et textes critiques, Les Presses de la Connaissance', Paris, 1976, p. 62 Exhibitions: 'Documenta III', 27 June-5 October 1964, Kassel; 'Serge Poliakoff-Rétrospective', traveling exhibition: Kestner-Gesellschaft, Städtische Kunsthalle Bremen, Museum am Ostwall, Overbeck-Gesellschaft, Haus der Städtische Kunstsammlungen Bonn, Württembergischer Kunstverein, Städtisches Museum Trier, 1963-1964; Kunstverein für das Rheinland, 'Serge Poliakoff', 14 November-14 December 1958, Düsseldorf; Kunstverein Hamburg, 'Serge Poliakoff', 12 April-18 May 1958, Hamburg; Moderne Galerie Otto Stangl, 'Serge Poliakoff', 9 August-20 September 1957, Munich
Galerie Édouard Ambroselli
Artus Quellinus the Younger (Sint-Truiden 1625-1700 Antwerp) Virgin and Child, circa 1650-1665 Terracotta, stone H 81.2 x W 42.5 x D 34 cm Born into a dynasty of sculptors in the Southern Netherlands, Arthus Quellinus theYounger, became one of the leading artists of the region. He followed his cousin, Artus Quellinus the Elder, to work on the Amsterdam Town Hall, a landmark of European sculpture. Back in Antwerp, he ran a workshop that trained a successful generation of sculptors, and he exported his works across Europe. Our Virgin and Child, is a preparatory model for a larger statue. The Virgin’s elongated face and elaborate hairstyle, the Child’s plump belly and slender legs, and the crisp, flowing drapery are all hallmarks of the artist’s refined style. The throne is decorated with cherub heads and volutes that differ on each side, a way of offering the patron a choice between two decorative solutions. Spontaneous and intimate, this terracotta gives us the intimacy of a working model, a glimpse of the sculptor’s creative process.
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse: Kallir WV n° D 2223 Provenance: the artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
Alexis Lartigue
Max Ernst (Brühl 1891-1976 Paris) Paysage, 1964 Tempera and pencil on paper 8.4 x 15.5 cm Signed ‘Max’ below right Provenance: estate of the artist; Galerie Bel’Art, Stockholm; Sotheby’s sale, London; private collection, New York; collection of Dr. Arthur Brandt, New York; Sotheby’s sale, New York; private collection, Paris Literature: Spies, Werner. Max Ernst Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, n° 4095, ill. p. 127 Exhibitions: Stockholm, Galerie Bel'Art, Max Ernst, Retrospective, 1979; Boone, Turchin Center for the Arts, The Omnipotent Dream: Man Ray, Confluences and Influences, 2003, ill. in the catalogue p. 23, listed p. 35; Ithaca, Herbert F. Johnson Museum of Art, A Private Eye: Dada, Surrealism and More from the Brandt Collection, 2006, illustrated in the catalogue p. 47
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 Alexis Bordes
Constant Montald (Ghent 1862-1944 Woluwe-Saint-Lambert) View of Houses in Spring, 1917 Gouache on paper laid down on cardboard 70 x 88.5 cm Signed and dated lower right 'C. Montald 17' Provenance: private collection, Belgium (acquired at public auction in 1993); private collection, France
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
Dei Bardi Art
Daniel Mauch (Circle of) Saint Peter Upper Rhine, circa 1490 Walnut bust 39.2 x 49.5 x 26 cm (with base) Provenance: private Rhenish collection 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