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Galeries Galeries AB & BA Franck Anelli Fine Art W. Apolloni srl / Laocoon Gallery ltd Ars Antiqua srl d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan Bailly Gallery Helene Bailly Baronian Barbara Bassi Samuelis Baumgarte Galerie Galerie de la Béraudière Galerie Berès Galerie Berger Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Galerie Van den Bruinhorst Cabinet of Curiosities-Honourable Silver Objects Giammarco Cappuzzo Fine Art Cavagnis Lacerenza Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Chiale Fine Art Galerie Claes Collectors Gallery Cortesi Gallery Costermans & Pelgrims de Bigard Galerie Pascal Cuisinier Dalton Somaré De Brock Gallery De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries Dei Bardi Art Gallery Delaive Thomas Deprez Fine Arts Gallery Desmet DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co A&R Fleury Galerie La Forest Divonne Galerie des Modernes Dario Ghio Gilden's Art Gallery Gokelaere & Robinson Galerie Grand-Rue Marie-Laure Rondeau Philippe Heim Marc Heiremans Galerie Hioco Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Harold t’Kint de Roodenbeke Florian Kolhammer Galerie Kraemer + Ars Belga Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Galerie Nicolas Lenté Francis Maere Fine Arts MARUANI MERCIER Galerie Mathivet MDZ Art Gallery Meessen De Clercq Montagut Gallery Galerie Montanari MORENTZ Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth Kunsthandel + Galerie Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale ǀ Galerie Valérie Bach La Pendulerie Galerie Alexis Pentcheff Guy Pieters Gallery Galerie de la Présidence QG Gallery Maison Rapin Repetto Gallery Röbbig München Robertaebasta Rosenberg & Co. Rueb Modern and Contemporary Art Galerie Schifferli Serge Schoffel - Art Premier Galerie Seghers Herwig Simons Fine Arts Librairie Amélie Sourget Stern Pissarro Gallery Simon Studer Art SA Studio 2000 Art Gallery Galerie Taménaga Galerie Theunissen & de Ghellinck Galerie Patrice Trigano Univers du Bronze Van der Meij Fine Arts Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery Zidoun-Bossuyt Gallery

Galerie des Modernes

jean-michel atlan

Jean-Michel Atlan (Algeria, Constantine 1913-1960 Paris, France) Pharaon III, 1959 Oil on canvas 60 x 92 cm Signed and dated lower left: Atlan 59 Inscribed, dated and titled on the back on the stretcher 'ATLAN 59 PHARAON III 60 x 92 cm' Provenance: Galleria Pater, Milan; private collection, France Literature: Les Non-Figuratifs du Midi autour de Atlan, catalogue of the exhibition of the Musée Ingres, Montauban, 1986, n° 8; Jacques Polieri, Atlan Catalogue raisonné de l'œuvre complet, éditions Gallimard, Paris, 1996, described on p. 390 and repr. in colour on p. 391 under n° 832


Galerie des Modernes

Francis Picabia (Paris, 1879-1953) Untitled or La Plage (à Martigues ?), vers 1902-1903 Oil on canvas pasted on cardboard 19.5 x 50.4 cm Signed lower right: Picabia Provenance: former Dr. Arthur Brandt collection, New York Literature: William A. Camfield, Francis Picabia Catalogue raisonné, vol. I (1898-1914), Beverley Calté, Candace Clements and Arnauld Pierre, Mercatorfonds, Brussels, 2014, described and reproduced in colour p. 183, n° 64, Inv. 2423


Galerie Nicolas Lenté

nicolas de largillière

Nicolas de Largillière (Paris, 1656-1746) Portrait of a lady, circa 1695 Oil on canvas 76 x 61 cm To be included in the forthcoming catalogue raisonné of the artist by Dominique Brême


Thomas Deprez Fine Arts

pieter braecke

Pieter Braecke (Nieuwpoort 1858-1938 Brussels) Mantelpiece clock 'Le Jour et La Nuit', circa 1900 Patinated bronze, sand-casted H 42 x W 64.5 x D 10 cm Reworked by hand, with hammering and chasing, most likely a unique prototype; hands and clockwork missing. Recorded in a personal portfolio belonging to the artist (private coll.) Provenance: the artist's studio after his death in 1938; sale Christie’s, Monaco, 6 December 1987, lot 53, as: 'Victor Horta & Pierre Braecke'; sale at Boisgirard, Paris, 26 January 2001, lot 77, as: 'Victor Horta & Pierre Braecke'; private collection, Belgium The present mantelpiece clock was recently rediscovered as the sole effort of sculptor Pieter-Jan Braecke (1858-1938) through a vintage photographic reproduction in one of the artist's albums (private collection). The figures are closely related to the clocks designed by Pierre Braecke in collaboration with Victor Horta for Armand Solvay and Octave Aubecq. No other versions of the present clock have been recorded.


Finch & Co

Attributed to the Embriachi workshop / and the so-called Master of the ‘Susanna Two’ Sarcophagus ‘wedding casket' Bone, wood, polychrome Venice, Italy, 15th century (circa 1450-1475) H 25 x W 41 x D 26.5 cm Provenance: ex private collection, USA; ex English collection The ‘Susanna Two’ are two very similar caskets housed in the Museum of Ravenna, Italy, made by the same workshop and Master as this fine sarcophagus. The Embriachi workshop was a northern Italian family of entrepreneurs and carvers. The precise location of the workshop is unknown, except that it originated in Florence, probably around the 1370s. Baldassare Embriachi was a member of a nobel Florentine family and frequented the Florentine literary circles. During his career, he acted as both a merchant and diplomat. His connections and financial independence allowed him to set up and found the bone-carving workshop that bears his name, rather than that of its leading artist. By 1395, political and financial circumstances had forced him to transfer the workshop to Venice. The suggested time range of the workshop's activity does differ, the earliest known dates being 1390-1405, encompassing a wider span from the 1370s until at least 1416, but certainly no later than 1433. The workshop employed local workers specialising in ‘certosina’ (inlay of stained woods, bone and horn), and produced items carved in bone (usually horse or ox) with wood and bone marquetry. As well as altarpieces, the workshop also made caskets as bridal gifts to hold jewels or documents, and these were often decorated with scenes from mythology.


Art et Patrimoine - Laurence Lenne

philipp jakob vi drentwett

Philipp Jakob VI Drentwett (1686-1754) Condiment service Augsbourg, circa 1750 Master silversmith Philippe Jacob VI Drentwett, received master silversmith in 1717 Hallmark 14 in an oval: for a silver title of 14 löthige = 875/1000 H 19 x W 36 cm Literature: Helmut Seiling, 'Die Kunst der Augsburger Goldschmiede 1529-1868', Verlag C. H. Beck Munchen, 1980, vol. 2 & 3


Harold t’Kint de Roodenbeke

Emile Claus (Sint Eloois-Vijve 1849-1924 Astene) London by night, 1917 Oil on canvas 26.5 x 22.5 cm Signed and dated: London 17 Provenance: private collection, Sweden; Bukowski, Sweden; private collection, Belgium


Galerie Kraemer + Ars Belga

Mark Grotjahn (USA, 1968) Untitled (Black and Cream Butterfly #711), 2008 Coloured pencil on paper 50.8 x 40.6 cm Provenance: the artist’s studio; Gagosian Gallery; private collection, Italy; private collection, Belgium Adam Weisweiler (1744-1820) Secretary forming a 'Bonheur du jour' Lemon tree and amaranth veneer, decorated with chased and gilded bronzes France, Louis XVI period, 18th century H 115 x W 60 x D 32.5 cm Stamped by Weisweiler Provenance: belonged to the city of Frankfurt, then returned to its owner; probably Niarchos collection, then private collection


New Hope Gallery

george nakashima

George Nakashima (USA, 1905-1990) Table lamp, 1968 Oak burl, Indian rosewood, walnut, Japanese paper Includes the original order card


Galerie des Modernes

karel appel

Karel Appel (Amsterdam 1921-2006 Zurich) Untitled, 1968 Oil on canvas 162 x 129.5 cm Signed and dated lower left: Appel 68 Provenance: the artist's studio, Paris; private collection, France


Artimo Fine Arts

ercole rosa

Ercole Rosa (Rome, 1846-1893) Cupid caught in the net, circa 1875 White Carrara marble sculpture, original column in portor and arabescato H 130 cm (statue), H 95.5 cm (column) Provenance: private collection from the U.K. Considered to be one of the artist's masterpieces, this sculpture was pictured in an article published in the journal 'Natura ed Arte' in 1893 by the famous art critic Luigi Archinti.


Galerie Berger

Set consisting of a terrestrial globe and an armillary sphere on turned and blackened wood supports The globe is signed and dated: Delamarche 1787 H 52 cm


Galerie Grand-Rue Marie-Laure Rondeau

saverio della gatta

Saverio della Gatta (active in Naples circa 1777-1827) Cava dei Tirreni Gouache on laid paper 34.1 x 50.2 cm Signed bottom right: Xav. della Gatta


Osborne Samuel Gallery

bridget riley

Bridget Riley (London, 1931) Rising and Falling Curve with Turquoise, Cerise, Olive and Black, 1974 Gouache and pencil on paper 146 x 51 cm Signed and dated lower right, titled lower left in pencil Provenance: Rowan Gallery, London (#R1302); private collection, New York (from the above in 1975); Scolar Fine Art, London (before 2004); private collection, UK (before 2004); Osborne Samuel, London


Galerie Jean-François Cazeau

andré masson

André Masson (Balagny-sur-Thérain 1896-1987 Paris) Poursuite, 1933 Oil on canvas 81 x 116 cm Signed in the lower left corner Provenance: Galerie Simon, Paris; Galerie Wildenstein, Paris; Galerie Thessa Herold, Paris; Philippe Samuel collection, Paris; private collection, France Literature: G. Masson, M. Masson et C. Loewer, André Masson. Catalogue raisonné de l'œuvre peint, Tome 1 (1919-1941), Vol. II (1930-1941), Editions ArtAcatos, Vaumarcus, Switzerland, 2010, n° 1933*13, repr. p. 165; P. Le Thorel-Daviot, Petit dictionnaire des artistes modernes, Editions Larousse, Paris, 1999, repr. p. 180 Exhibitions: Roma, Max Ernst e i suoi amici surrealisti, Fondazione Cassa di Risparmio di Roma, Museo del Corso, July 24th-November 3rd 2002, repr. p. 97; Barcelona, Les avantguardes a Catalunya, 1906-1939, Olimpíada Cultural, Fundació Caixa de Catalunya, 1992


Repetto Gallery


Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped floor (Project for Museum Haus-Lange, Krefeld), 1971 Pencil, charcoal, fabric, thread, staples, white paper, museum floorplan, glue, brown kraft paper and cellophane tape on card 71 x 56 cm Signed, titled and dated Certificate of authenticity issued by the Estate of Christo V. Javacheff n° 406-01 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium


Galerie Bernard De Leye

Pair of silver toilet torches 'à la financière' Paris, 1658 Master silversmith Nicolas Simonin These toilet torches are one of the oldest pair of toilet torches in Paris known and listed to date. They are also the only known and listed object by Nicolas Simonin. By their shape and size, these torches are characteristic of those that appeared in the toilet services H 10.5 x W 10.2 cm - Weight: 465 gr. the pair Provenance: private collection


Maison Rapin

Robert Goossens (Paris, 1927-2016) 'Waterlilies' chandelier, 1973 Structure made with gilded bronze and brass imitating waterlilies, adorned with raw rock crystals on the crown, and a smoked quartz on the center H 130 x D 120 cm Signed and dated 'Robert Goossens 1973'


Finch & Co

Seated ‘Ball player’ Polychromed terracotta Pre-Columbian Nayarit pottery, Mexico, 100 BC to 250 AD H 48 cm Provenance: Stanley J. Seeger collection, USA; Sotheby's, London, 5th March 2014; ex private UK collection Literature: The Art Museum, Princeton University, 1961 Exhibition: Princeton University, June 1961 Before their arrival in the New World, the Spanish had never seen games played with balls of rubber, a substance unknown in Europe. Upon their arrival in central Mexico, they were so enamoured with the Aztec ballgame that they sent a team of indigenous players to Spain to play before the court of Charles V. The game the Spanish witnessed in the Aztec region was just one manifestation of a long-lived and wide-ranging ballgame tradition in Mesoamerica. Cultures throughout Mesoamerica played games using rubber balls, and the tradition also extended to the Caribbean and the southwestern United States. Mesoamerican peoples played many types of ballgames, with different rules and styles of play. The seated figure in our example sits wearing multiple earrings and nose rings, and is decorated with polychrome ‘slip’ of red, black, white and yellow. He is clasping a ball between his cupped hands in front of his chest.


Marc Heiremans

Flavio Poli (Italy, 1900-1984) Valva Grigio violetto, 1957 Executed for Seguso vetri d'arte, Murano, Italy Free-blown, hand-formed, carved and hand-polished multi-layered glass. H 14 x W 18. 5 x D 7 cm Provenance: private collection, Stockholm Literature: Marc Heiremans, Seguso vetri d'arte-Glass objects from Murano (1932-1973), Arnoldsche Stuttgart 2014 Exhibited: Model 11895, exhibited at the XIe Triennale di Milano, 1957


N. Vrouyr

Petag Tabriz Iran, Tabriz, around 1930 Warp and weft: cotton, pile: wool 289 x 199 cm


Klaas Muller

jan boeckhorst

Jan Boeckhorst (Münster 1604-1668 Antwerp) Study of a Female Head in profile Oil on canvas 42.5 x 32.3 cm Literature: Kunsthandel J. Goudstikker, Rubens-Tentoonstelling, Ten bate Van de Vereeniging 'Rembrandt' in de zalen van den Kunsthandel J. Goudstikker N.V., exh. cat., Amsterdam 1933, cat. n° 57, repr. (as Rubens); H. Vlieghe, Jan Boeckhorst, 1604–1668, Maler der Rubenszeit, exh. cat., Antwerp 1990, p. 64, repr. p. 65, fig. 33 (as Boeckhorst); M. Galen, Johann Boeckhorst, Gemälde und Zeichnungen, Hamburg 2012, p. 254, cat. n° Z 14, repr. p. 253, fig. Z 14 (as Boeckhorst); N. Van Hout, Corpus Rubenianum L. Burchard, Part XX, Studyheads, Vol. 1, fig 168; Vol. 2, pp. 147-149; Nils Bütner, Becoming Famous Pieter Paul Rubens, Exp. Cat. Staatsgalerie Stuttgart, 2021, pp. 249-251, repr. abb.3 (as Boeckhorst) This well-known study has been published several times. It can be linked to a  painting: 'Woman reading' in Mannheim (Reiss-Engelhorn Museum), which is probably a collaboration between Rubens and Boeckhorst (see literature, Van Hout and Bütner). Yet the sketch differs in several points from the final work, and even from the infrared of the (Mannheim-) work. For example, the woman is not wearing a hood (in contrast to Mannheim's infrared) and her hairstyle differs significantly from the final work, together with her clothing. The head is very monumental and at the same time clearly painted after life.


Floris van Wanroij Fine Art

anselmus weeling

Anselmus Weeling (Den Bosch, 1675-1774) The Holy Family with Saint John the Baptist and Elisabeth Oil on panel H 30.2 x W 24.2 cm Signed upper left: A.Weeling Registered at the RKD, The Hague, under inv. n° 1863 Provenance: possibly the collection of Johan Steengracht van Oostcapelle (Middelburg 1782-1846 Paris); thence by decent to Cecilia Maria baroness van Pallandt, born van Steengracht van Oostcapelle (The Hague, 1813-1899), Castle Keukenhof, Lisse; collection of the Cornelia Johanna countess van Lynden, born van Pallandt (The Hague 1840-1923 Lisse), Castle Keukenhof, Lisse; thence by descent to her niece Carola Elisabeth Aurelia Anna countess van Rechteren Limpurg – born baroness van Lynden (Wassenaar 1900- 1986 Dalfsen), Castle Rechteren, Dalfsen; collection of Nijstad Antiquairs N.V., Lochem/The Hague, after 1946 (photographed by A. Dingjan; see RKD database); private collection, The Netherlands Literature: Hofstede de Groot, C. (1901). 'Kritische opmerkingen omtrent Oud-Hollandsche schilderijen in onze musea'. In: Oud Holland, n° 19, pp. 143-144 Exhibitions: The Royal Cabinet of Paintings the Mauritshuis, The Hague, 1899-1901, as attributed to Nicolaes Willingh (or Wieling) on loan from Countess van Lynden-van Pallandt


Galerie Alexis Pentcheff

rené gruau

René Gruau (Rimini 1909-2004 Rome) Femme au gant et à la coiffure rouge, projet pour cabaret Gouache, ink and pencil on paper 43 x 63 cm Monogrammed lower right Provenance: private collection


Serge Schoffel - Art Premier

Gyé mask Guro-Bete Ivory Coast, 19th century Wood H 43 x W 20.50 x D 14 cm Provenance: collection Pierre (1900-1993) and Claude (1929-2018) Vérité, Paris; auction: Enchères Rive Gauche, Hôtel Drouot, Paris, Arts Primitifs. Collection Vérité, June 17-18, 2006, lot 125


Galerie Cento Anni

Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Seated fennec, head turned, size 2, 1921 Bronze with a shaded brown patina Cast by Susse, numbered 5 and marked 'Susse Fes Edts Paris' 'Cire perdue', circa 1926-1930 H 28.5 x W 30 x D 14.5 cm Signed: EdM. Sandoz Provenance: private collection, France Literature: Félix Marcilhac, Édouard Marcel Sandoz, sculpteur, figuriste et animalier 1881-1971, catalogue raisonné de l'œuvre sculpté, éd. de l'Amateur, Paris, 1993, p.364, model n° 602, repr. p. 365


Dr. Lennart Booij Fine Art & Rare Items

pablo picasso

Pablo Picasso (Malaga 1881-1973 Mougins) Turned vase in the shape of a wood owl, 1958 White earthenware clay, engobe decoration, engraved with a knife, glazed inside, red and black colours H 28 cm Numbered 155/200, incised ‘Edition Picasso’ and stamped ‘Edition Picasso’ and ‘Madoura Plein Feu' Provenance: private collection, UK Literature: Alain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Madoura, 1988, p. 213, n° 405 © Succession Picasso - Sabam Belgium 2023


Galerie Boulakia

rashid johnson

Rashid Johnson (Chicago, 1977) Junie, 2013 Oil on panel 154 x 215 cm Provenance: Hauser and Wirth, London Chicago-born artist Rashid Johnson produces conceptual post-black art using a wide range of media. He explores literature, philosophy, and collective aspects of African American intellectual history and cultural identity. Johnson makes his own tools to scrape and engrave his pieces, frequently conveying occult and mystic rhythms. In Junie, the black and gold oils dispersed on the frantically engraved panel encapsulate the artist's intricate and multidisciplinary practice, incorporating diverse materials rich in symbolism and personal history.


Galerie Montanari

Ebony veneered frame with engraved guillochets Flanders, 17th century 72 x 54.2 cm On the spout part of the frame is an engraved frieze of leaves with a wide rib. On the flat part there is an engraved floral and country décor. The latter gives rise to a figurative dialogue, which breaks with the symbolic precepts of earlier periods. The frame thus becomes a decorative object in its own right


Whitford Fine Art

joseph lacasse

Joseph Lacasse (Tournai 1894-1975 Paris) Dominante bleue, 1955-56 Oil on canvas 246 x 105 cm Signed and dated verso Provenance: private collection, Belgium Literature: Joseph Lacasse: Pioneer of Abstraction, exhibition catalogue with essay by An Jo Fermon, Whitford Fine Art, London, 2015, cat. n° 29, ill.