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Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115cm Signed and inscribed on the reverse Provenance: Galerie Guy Pieters, Brussels; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' Provenance: collection Michel Guy, Paris; private colletion, Paris; private collection, France Certificate of authenticity from 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, under the n°118 059.
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic ø 28 cm Signed below on the edge 'Leoncillo' Literature: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955
F. Baulme Fine Arts
Claude-Marie DUBUFE (Paris, 1790 – La-Celle-Saint-Cloud, 1864) Expression Head: Modesty Circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: England, private collection. Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.). Related work: Claude-Marie Dubufe, Modesty, 1828, engraving.
Galerie Boulakia
Georges Mathieu Louis VII épouse Eléonore d'Aquitaine, 1958 oil on canvas 97 x 162 cm 38 3/16 x 63 3/4 in signed bottom left This artwork is referenced among the authentic artworks of the « Archives by Jean-Marie Cusinberche on Georges Mathieu ». An attestation of the « Archives by Jean-Marie Cusinberche on Georges Mathieu » will be provided to the buyer. Provenance Galerie Europe, Paris
Galerie Uzal
Jean Delville (Louvain, 1867 - Forest, 1953) La Libération 1936 Oil on canvas Signed and dated 188,5 x 240,5 cm (Framed) Exhibition : Bruxelles, Salon de la Société des Beaux-Arts - Salon de Printemps 1936. In a letter addressed to the former owner and dated 1 July 1947, Jean Delville described the work as follows: “Man, in flight, frees himself and escapes towards broader horizons and spaces of freedom, while the forces of evil hold him back in the lower spheres of the world, where the inert mass of beings remains imprisoned by their prejudices, desires, passions and selfishness.”
Willow Gallery
André Lhote (Bordeaux 1885-1962 PAris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Provenance: Simone Lhote, Paris (wife of the artist); Suzanne Bermann, Paris (by descent from the above); Soufer Gallery, New York (acquired from the above, 1988); Acquired from the above by the late owner, March 1991; private collection, Chicago This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation. Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Engraving after Pieter Bruegel de oude (Brussels, 1525-1569) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) 22,5 x 29,4 cm Published by Hiëronymus Cock (Antwerp, 1518-1570) References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Stern Pissarro Gallery
GLENN BROWN (b. 1966) Drawing 2 (after Delacroix/Raphaël) Executed in 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right, Glenn Brown 2019 The work has the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin Private collection, Belgium, acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October - 9 December 2019 Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020 - 23 January 2021, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125) Provenance Galerie Max Hetzler, Berlin Private collection, Belgium, acquired from the above Exhibitions Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October - 9 December 2019 Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020 - 23 January 2021, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125)
Laurent Schaubroeck
JOSÉ ZANINE CALDAS, Moveis Artisticos Z 2-21 Zeca Armchair ORIGIN: Brazil DATE: c. 1949 MATERIALS: Leather, plywood , hardware DIMENSIONS: W67 × D77 × H87 cm An early 2-21 “Zeca” armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
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 Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Galerie Oscar De Vos
Frits Van den Berghe (Gent 1883 - 1939) The companions 1932 Oil on canvas 150 x 130 cm Signed lower right: FVBerghe 32 Provenance: Alla en Bénédict Goldschmidt, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr.1, 1940, p.4 Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp.99-110, cat. 55 Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, no. 5-6, 1948, pp.240-242, pl.55 Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, no. 689 Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), no. 396 Langui, Het Expressionisme in België, 1970, pl. 81, p.128 Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164 Boyens, Frits Van den Berghe, 1999, pp.161, 233, no. 132 Boyens, Frits Van den Berghe, 1999, p.290, no. 753 Pauwels, Als een fonkelenden spiegel, 2019, pp.296-297 Exhibitions: 1933, Ghent, Frits Van den Berghe en Joseph Cantré, no. 6 1934, Stockholm, Belgisk Konst, no. 204 1934, Oslo, Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, no. 204 1937, Moscow & Leningrad, Hedendaagse Belgische Kunst, no. 9 1938, Brussels, Les Compagnons de l'Art, no. 187 1997, Deurle, Deurle: 6 juli 1997 (The Deurle Conversation) 1999, Ostend, Retrospectieve Frits Van den Berghe, no. 132
Bernier/Eliades
RATHER NOT BE USED FOR CATALOGUE JUST FOR PRESS / WEBSITE Martin MARGIELA Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6,5 cm Photo credits: Sebastiano Pellion di Persano 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
Thomas Deprez Fine Arts
Josuë DUPON 1864 | 1935 « FLANDRIA » 1914 (model) | pre-1916 (cast) 66 x 71 x 25 cm Patinated bronze, sand-cast Signed on the base: ‘Josuë Dupon’. Titled on the front end of the base: ‘FLANDRIA’. Stamped along the backside of the base: ‘Fonderie Nationale des Bronzes’. PROVENANCE Anonymous sale, Pictura, Ghent, 05/01/2007; Ancienne collection K. D., bought from the above ; Thence by descent. EXHIBITED 1914, Studio of the artist, March, cf. press; 1914, Exposition Henry Luyten et Josué Dupon, April; 1914, Salon Triennale, Brussels, as: nr. "1001. Flandria (plâtre)." 1920, Salon Triennale, Antwerp, as: "Flandria. Brons." 1922, Salon Triennale, Ghent, as: "Flandria. Brons." RELATED DOCUMENTS A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1.800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on July 15th 1914. (Letterenhuis, Antw’en, D922.) PRESS (Full print available on request) René Sancy, " "Flandria" chez M. Josué Dupon", in: Le Matin, 25/03/1914, p. 3. René Sancy, "Exposition Henry Luyten et Josué Dupon", in: Le Matin, 16/04/1916, p. 7. Arnold Goffin, “De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst”, in: Onze Kunst, Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. “Driejaarlijksche Tentoonstelling (vervolg en slot)”, in: Het Handelsblad, 20/07/1920, p. 1. “Beeldende kunsten: Driejaarlijksche Tentoonstelling”, in: Gazette van Antwerpen, 08/08/1920, p. 2. “Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII”, in: Vooruit, 04/08/1922, p. 7. Karel Van de Woestyne, “Het driejaarlijksch salon te Gent. V.”, in: N.R.C., 20/09/1922.
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 Provenance: artist’s studio, Cachan; private collection, The Netherlands; private collection, France 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.
Spazio Nobile Gallery
Didi Ng Wing Yin, Pleats Vase Cinnabar Red #19, 2026, Sculptural vessel, Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac, unique piece, signed by the artist Certificate of authenticity Bibliographical references: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025 Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025 Fine Arts Asia, Hong Kong, 2026 Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
Anthony Short Antiques
Large Antler Coat Stand by J. Parker of Woodstock. England, circa 1850 A striking and rare antler and oak hall stand attributed to J. Parker of Woodstock, noted cabinetmaker and upholsterer active in the 1850s. The central pole bears a diamond registration plaque, dating the original design to 15 January 1852, when it would have been registered with the National Patent Office. Given the close proximity of Woodstock to the Blenheim Park Estate and its historic deer herd, it is highly likely that the antlers used in this piece originate from Blenheim. A closely related, documented example is held in the collection of the National Trust at Speke Hall, England. This wonderfully sculptural stand is composed of interlaced antlers and oak, forming an elegant rack for hats and coats. The lower section incorporates a basin for umbrellas and walking sticks, retaining its original tole liner, all raised on bun feet. The whole is mounted on a solid oak barley twist column, topped by a turned finial, lending both movement and architectural presence. Darkly toned with a rich, well developed patina, the stand embodies the lodge style aesthetic so prized in the late 19th-century. Robust hardwood construction and finely worked antlers demonstrate high quality craftsmanship and enduring stability. Antler furniture rose to prominence following the Great Exhibition of the Works of Industry of All Nations, London, 1851, where such pieces were presented as fashionable novelties of modern living. Designers such as the German horn carver and furniture maker H. F. C. Rampendahl helped to establish this distinctive genre, which was soon produced in series for an aspiring European middle class. Both practical and highly decorative, this unusual 19th-century antler and oak hall stand is ideal for an entrance hall, where it serves not only as a functional piece for coats, hats and umbrellas, but also as a true conversation piece and a statement of refined country house style. Height 210cm (82.7in) Diameter 57cm (22.4in)
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Marjan Sterk Fine Art Jewellery
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. Signed Claude Lalanne, numbered 19/50. Made in Paris, ca 1980-90. With signature of Artcurial, Paris.
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98,4 x 131,3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p.239)