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Stone Gallery
Woolly mammoth original skull Mammuthus primigenius Origin: Siberia 50 thousand years old H 173 x W 162 x D 193 cm Casted tusks of the world famous Jarkov Mammoth This is an original skull of the extinct woolly mammoth (Mammuthus primigenius), an extinct relative of the modern-day elephant. The skull fragment is exceptionally well preserved and of outstanding quality. The original skull was discovered in the permafrost of northern Yakutia, Russia. The tusks are casts taken from the world-renowned Jarkov Mammoth, discovered in Siberia. The geological age of the original skull and the original tusks of the Jarkov Mammoth dates to the Late Pleistocene, approximately 20,000 to 25,000 years ago. At the time of its death, this mammoth is estimated to have been approximately 53 years old (± 2 years).
De Jonckheere
Herri met de Bles (Dinant or Bouvignes-sur-Meuse circa 1510-active in Antwerp between 1533 and 1566) The Ascent to Calvary Oil on panel 41.5 x 69 cm Signed bottom right with the owl, the artist's symbol, on the drum of one of the peasants Provenance: Franz Haverda-Werlandt collection, Vienna; Count Filip Kolowrat-Krakowski collection, Vienna; Count Ernst Kolowrat-Krakowski collection, Vienna; Oscar Bondy collection, Vienna; confiscated in Vienna for the Kunstmuseum Linz, listed in the inventory of 31 July 1940; returned to the Republic of Austria on 25 April 1946; returned to Oscar Bondy in 1948; sold by Kende Galleries Inc, New York, 3 March 1949, n° 68; private collection, New York; Bob P. Habolt & Co., New York; De Jonckheere, Brussels-Paris, 1990; private collection, France Literature: M. J. Friedländer, Die Altniederlandische Malerei, Berlin, 1937, vol. XII, p. 131, n° 65; R. A. Koch, A Rediscovered Painting, 'The Road to Calvary', by Herri met de Bles, in Record of the Art Museum. Princeton University, 1955, vol. 14, n° 2, p. 37, note 4; M. J. Friedländer, Early Netherlandish Painting. Jan van Scorel and Pieter Coeck van Aelst, Leiden and Brussels, 1975, vol. XIII, p. 107; W. S. Gibson, 'Mirror of the Earth': The World Landscape in Sixteenth-Century Flemish Painting, Princeton, 1989, p. 101, n° 108, p. 103, n° 139; L. Serck, Henri Bles et la peinture de paysage dans les Pays-Bas méridionaux avant Bruegel, unpublished doctoral thesis, Université Catholique de Louvain, 1990, n° 33, p. 709, vol. II, p. 711, vol. III; De Jonckheere, Rencontre de Maîtres. XVIIIe exposition. Paysages et Natures mortes, spring 1992, n° 6; L. Serck, 'La Montée au Calvaire d'Henri Bles: Création et composition', in N. E. Muller (dir.), Herri met de Bles. Studies and Explorations of the World Landscape Tradition, exh. cat., Princeton University, 10 October 1995-10 November 1995], Princeton, 1998, p. 63, n° 5; J. Toussaint, Autour de Henri Bles, exh. cat., TreM.a-Musée des Arts anciens du Namurois, 13 May 2000-1 November 2000, Namur, 2000, p. 23, n° 23, repr.; C. Currie, L. Serck, La Montée au Calvaire d'Henri Bles du Musée de Namur, in Guide du visiteur, n° 11, TreM.a-Musée provincial des Arts anciens du Namurois, J. Toussaint (ed.), 2007, p. 39, fig. 23, repr.; B. Schwarz, Hitlers Museum. Die Fotoalben. Gemäldegalerie Linz, Horn, 2004, p. 97, album I/42a, p. 203 repr. Exhibition: New York, Colnaghi Gallery, in association with Alexander Gallery, New York, The Northern Renaissance: 15th and 16th Century Netherlandish Paintings, 6 April-14 May 1983, n° 13
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
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 Lilith is a complex mythological figure, often regarded in Jewish tradition as Adam’s first wife before Eve, created from the same earth as him. Refusing to submit, she left Eden to become, according to myth, a demoness or succubus of the night, a symbol of rebellion, female independence and the storm. This composition is reminiscent of ‘The Rape – Le viol’, the famous drawing used to illustrate the cover of André Breton’s publication What is Surrealism?
Univers du Bronze
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux antilopes Goudou or 'Deux Amis', circa 1911 Bronze, dark brown patina H 23.1 x L 43.2 x D 11.9 cm Signed 'R. Bugatti' Original cast and edition by 'A.-A. Hébrard cire perdue Paris' (seal and inscribed in the wax 'Fondu en 1925'), engraved '(13)' Edition cast in 1925 The years 1910–1911 were the most creative in Rembrandt Bugatti’s career. His art was flourishing, with his first major exhibition in Antwerp in 1910, followed by one organised by the foundryman Hébrard, for which the artist presented a magnificent collection of one hundred sculptures. The 'Deux antilopes goudou' were probably created in 1911, following a group of Trois antilopes goudou that Bugatti presented for the first time at the Salon d’Automne in 1911. From this group of three, the sculptor chose to retain only a pair of animals, adopting an even more sensitive approach, full of great tenderness, which the artist’s Impressionist touch renders here even more vibrant. To emphasise this intimate and ‘friendly’ character, Bugatti positions the antelopes – also known as Les deux amis – in a face-to-face interaction, with the head of one resting trustingly on the other’s large ear. The two heads come together harmoniously at the centre of the composition. At the same time, the sculptor modelled another, complementary group featuring similar antelopes, this time muzzle to muzzle, which he named 'Deux antilopes Goudou' or 'Caresse'. This cast, listed in the sculptor’s catalogue raisonné, bears the number '13', denoting the thirteenth cast produced from this model, and the casting date 'Fondu en 1925' – an extremely rare detail in Bugatti’s Oeuvre. The production run of these beautiful African antelopes was a great success for Hébrard, who cast thirty-two bronzes based on this subject. This bronze, with its deep brown patina, stands out from other known casts due to the high quality of the mould, which perfectly showcases the master’s characteristic and original treatment of the material.
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
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’.
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise) White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69 In the second half of the 16th century, Cardinal Ferdinando de’ Medici was one of the most renowned collectors in Rome. He created one of the greatest collections of Antiquities for his villa on the Pincian hill in Rome. When certain highly acclaimed sculptures ended up in the papal collection or other important collections which he couldn’t acquire, he contented himself with having copies made. These weren’t full-size copies, but rather fine statuettes on a reduced scale, intended for his studiolo. His passion for antiquity is mirrored in the collection of small bronzes he had. He kept in his service an artist called Pietro da Barga; a sculptor known to us only by the references in cardinal Ferdinando’s inventory. One of the main characteristics of his bronzes is the green all’antica patina he used to resemble the surface of the newly discovered ancient Roman bronze statues. Not only did he make reduced copies of ancient roman sculpture, he also used famed Renaissance models like Giambologna’s Mars or Michelangelo’s standing Christ.
Caretto & Occhinegro
Jan Provoost (Mons 1465-1529 Bruges) Crucifixion with a view of the city of Bruges, circa 1512-1515 Oil on panel 31.5 x 25 cm Expertise by Peter van den Brink Active primarily in Bruges between the late 15th and early 16th centuries, Provoost centered his art on a formidable capacity for aesthetic synthesis, marked by highly intellectual nuances and an unmistakable solemn style capable of blending diverse influences, from Van Eyck to Antonello da Messina. A shining example of this is this small Calvary, where three modernly minimalist figures are arranged with skillful geometry against a meticulously detailed view of the city of Bruges stretching out behind them. While Provoost explored this subject in other versions, always incorporating detailed cities in the background, none features such a precise and topographical view of Bruges. Indeed, one can readily recognize the belfry of the Church of Our Lady, the now-lost architectural structure of the Jerusalem Chapel of Bruges (still intact at the time), and the tower of the city's town hall.
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des 4Aquarelles, gouaches and pastels' currently in preparation Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024