This section will be available this Autumn.
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8
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.
Vagabond Antiques
Giocondo Albertolli (Bedano 1742-1839 Milan) (Attributed to) Milan, late 18th century Wall lights H 72 x W 45 x D 37 cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period.
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
Herwig Simons Fine Arts
Blue John urn Late 18th century Square base with alabaster and Ashford marble, pedestal clad in Blue John, foot partially clad in blackened brass, ovoid bowl with transverse fluting in Blue John H 40 cm Engraved on the base with inventory n° 890126-0821 and inscribed Hedvig Piper (1746-1812) Born Hedvig Katharina Ekeblad, she married Count Carl Gustaf Piper in 1769 and she held senior positions at the Swedish Royal Court, including chief Lady-in-waiting from 1795-1805.
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.
Thomas Deprez Fine Arts
Evariste Carpentier (Kuurne 1845-1922 Liege) Sous les rochers de Logne, 1908-1909 Oil on canvas 129.5 x 195.5 cm Signed lower right ‘Evte Carpentier’ Provenance: by descent in the family of the artist; anonymous sale, HdV Horta, Brussels, 4 December 2006, lot 110 as 'Sous les rochers de Logne'; private collection K.D., Belgium; thence by descent Literature: Annick Lemoine, Evariste Carpentier (1845-1922), Brussels: Mecenart, 1994, ill. p. 119, as 'Langs de rotsen van Logne-Sous les roches de Logne (circa 1906)'; Fritz Carpentier, quoted in: Jacques Goijen, L'École liégeoise du paysage: ma merveilleuse aventure, Stavelot, Éditions Chauveheid, 1991, p. 27 Exhibitions: Salon triennal de Gand, 1909, as 'Paisible hameau de Logne', cf. Sander Pierron; Exposition Evariste Carpentier & Armand Apol, Brussels, Cercle Artistique & Littéraire, 1909-1910, as 'Paisible hameau de Logne', cf. press; Exposition Evariste Carpentier, Huy, Cercle Artistique, 1910, as 'Paisible hameau de Logne', cf. press; Exposition M. Romiée, Evariste Carpentier & R. de Baugnies, Liège, Cercle des Beaux-Arts, February 1911, as 'Paisible hameau de Logne', cf. press; Esposizione Internazionale di Roma, 1911, Padiglione del Belgio, cat. n° 10, as 'La capanna pacifica'; Logne Autrefois: Sur les traces d’Evariste Carpentier et de l’École Liégeoise du Paysage, Musée du Château fort de Logne, 2019, p. 6, 24-25, ill. cat. n° 9, as 'Sous les rochers de Logne' Sander Pierron, 'Les Lettres et les Arts: Le Salon de Gand, II' in 'L'Indépendance Belge', 1 September 1909, p. 3. 'Evariste Carpentier nous oblige à quitter ce coin hivernal du Brabant, pour admirer l’estival et Paisible hameau de Logne ; ceci est une page radieuse, la meilleure qu’ait signé ce maître fécond et divers. En ce site, d’un pittoresque fermement établi, l’ombre transparente des premiers plans s’opposent à l’ardent et léger ensoleillement des fonds. L’observation interprétative est accusée par la vérité des plans, obtenus par la ligne des éléments aussi bien que par les valeurs du coloris et la distribution de la lumière, qui se répète dans l’onde vive d’un ruisseau dont deux vaches suivent le bord. Une impression heureuse se dégage de cette œuvre qu’on peut considérer comme un beau poème pastoral.' Related documents: Letter from the artist to the renowned art critic Sander Pierron, dated 28 October 1909, in which he thanks him for the praising article about his painting. (Algemeen Rijksarchief, Fonds Sander Pierron, inv. I286-73.)
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)
Finch & Co
Ancient Celtic bust of a radiate deity ‘Sol Invicta’ wearing a Halo of the Rays of the Sun Limestone British, 1st century BC-1 st century AD H 42 x W 40 x D 20 cm Provenance: private collection, West Country, UK; Finch and Co, item n° 1, catalogue n° 30, Summer 2018; private collection Comparative reference: Dr Anne Ross, ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Vagabond Antiques
After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Château De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England 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 bei der Albertina ▪ Zetter
Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983; Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987
Vagabond Antiques
A Neoclassical painted and parcel-gilt console table Italy, late 18th century Marble and painted wood H 90 x W 110 x D 54 cm Italian neoclassical console table retaining its beautifully faded original painted and parcel-gilt decoration. The original shaped solid Breccia Violette marble top rests on a panelled frieze decorated with scrolling acanthus, flower-filled classical urns and carved paterae. The table is raised on four beautifully proportioned fluted legs, tapering to an unusually fine point and giving the table a particularly elegant and refined profile.
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, bearing a uniquely spotless two-tone rose dia Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Paysage, arbres fruitiers (1909) Oil on paper 47.7 x 63 cm Stamped with signature 'Bonnard' (Lugt 3886, lower left) Provenance: the artist's estate; private collection, Paris; anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226; private collection, Europe Literature: J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, n° 1949, (ill.) p. 285
Harold t’Kint de Roodenbeke
Pol Bury (La Louvière 1922-2005 Paris) L’étourdie, 1945 Oil on canvas 60 x 70 cm Signed lower right and dated 1945 This work is listed in the catalogue raisonné of the Pol Bury paintings under n° PO 46 Provenance: collection C. Matisse, La Louvière; sale Horta, Brussels, 12 October 2009, lot 208; private collection, Liège Literature: José Vovelle, 'Le surréalisme en Belgique', Brussels, André De Rache éditeur, 1972, p. 248, ill. p. 308; Viviane Baras-Flament, 'Pol Bury, 2014', bibliographical reference, 1974, ill. pl III; Philippe Roberts-Jones, Naissance et triomphe du surréalisme en Wallonie', 1975, ill. p. 297; Robert Hoozee, Piet Boyens, Inge Henneman, Monique Tahon-Vanroose, Helke Lauwaert, Serge Goyens de Heusch, Ronny Gobyn, 'L’art moderne en Belgique 1900-1945', Antwerp, Fonds Mercator, 1992, ill. p. 312; Rosemarie E. Pahlke, 'Pol Bury', Ghent, Crédit communal, 1994, pp. 102-103, cat 45-6, ill. p. 103; Histoire de ne pas rire, le surréalisme en Belgique, Bozar et Fonds Mercator, 2024, ill. p. 152 Exhibitions: Galerie Lou Cosyn, Brussels, Pol Bury, Juin 1946, n° 9; Musée des Beaux Arts de Liège, 'L’apport Wallon au surréalisme', October-November 1955, ill. n° 4; La Louvière, 'Introduction au surréalisme en Belgique, community hall, April-May 1969, n° 8; Kunstverein Hamburg, 'René Magritte et le surréalisme en Belgique', January-March 1982, n° 3, ill. p. 229; Galleria Nazionale d’Arte Moderna, Rome, April-July 1982; Musées Royaux des Beaux-Arts de Belgique, September-December 1982; Château de Waroux, Alleur, 'Pol Bury, du surréalisme aux ramollissements', April-June 2010; Château de Waroux, Alleur, 'De Dali à Magritte, l’aventure surréaliste', March-July 2011