This section will be available this Autumn.
Epoque Fine Jewels
rené lalique
an impressive art nouveau gold, diamond, enamel and glass choker necklace by rené lalique
An impressive Art Nouveau gold, diamond, enamel and glass choker necklace by René Lalique, consisting of six pentagonal plaques made from molded amber-colored glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in molded orange glass, enhanced with diamonds. The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’. Signed: Lalique. Period: Paris, circa 1905.
Virginie Devillez Fine Art
rené magritte
René Magritte (Lessines 1898-1967 Brussels) Le Prince charmant, 1948 Gouache on paper 37 x 46 cm Signed lower left 'Magritte' Provenance: Willy van Hove-Cuche, Brussels; private collection; Galerie Motte, Genève (auction 7 December 1973, lot 30); Margaret Krebs, Brussels; Christie’s, London (auction 27 June 1978, lot 145); Sotheby’s, London (auction 6 February 2001, lot 157); Beaux-Arts Auction, Brussels (auction 26 April 2005, lot 51); private collection, Belgium Literature: Ronny Van de Velde, René Magritte. Peintures et gouaches, Antwerp, 1994, ill. n. p.; David Sylvester (Ed.), René Magritte – Catalogue Raisonné. IV: Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Menil-Foundation/Fonds Mercator, 1994, CR 261 (ill. p. 102); Esther Schlicht & Max Hollein (Éd.), René Magritte 1948. La période vache, Frankfurt, Schirn Kunsthalle, 2008-2009, ill. p. 45 Exhibitions: Paris, Galerie du Faubourg, Magritte: peintures et gouaches, 1948, n° 24 (? or CR 1260); Rotterdam, Museum Boymans-van Beuningen; Stockholm, Moderna Museet, René Magritte : het mysterie van de werkelijkheid; René Magritte, 1967, n° 97 (ill. p. 223); n° 50; Paris, Fondation Dina Vierny – Musée Maillol, Magritte tout en papier, 2006, n° (ill. p. 160); Rotterdam, Museum Boymans-van Beuningen, Voici Magritte. Gouaches, collages, tekeningen, studies, schilderijen, 2006, n° (ill. p. 160) Paris, Centre Pompidou – Musée national d’Art moderne, Magritte. La Trahison des Images, 2016-2017, n° (ill. p. 152); Skärhamn, Nordiska Akvarellmuseet, Magritte. A Lab of Ideas. Works on paper, 2022, n° (ill. p. 135)
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only piece known to date Cast by Leblanc-Barbedienne and bears the foundry's stamp Provenance: private collection, France
COLNAGHI
Gillis Neyts (Ghent 1623-1687 Antwerp) A winter cityscape of Antwerp, 1666 Oil on panel 54 x 86 cm Signed and dated lower left: g. nyts. f. / 1666 Provenance: Sale Fievez, Brussels (16 June 1931), lot 113; Sale of the F. Stuyck Collection, Brussels, Palais des Beaux-Arts (7-8 December 1960), lot 91; Galerie P. de Boer, Amsterdam (1961) no. 54; Laboratoria Tupens, Sint-Niklaas (?); With Rafael Valls, London; With De Jonckheere, from whom acquired by the present owner. Literature: P. Gustot, Gilis Neyts. Un paysagiste brabançon en vallée mosane au XVIIe siècle, Namurois 2008, p. 69, n° P13, repr. Exhibition: Brussels, Musées Royaux des Beaux-Arts de Belgique, Le siècle de Rubens, 15 October-12 December 1965, n° 157, repr.
Maison D'Art
François Perrier (Pontarlier circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640s Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, 16 June-16 July 2010, n° 5
Galerie Lowet de Wotrenge
frans pourbus the elder (bruges 1545/46 - 1581 antwerp)
Frans Pourbus the Elder (Bruges 1545-1581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left 'A°. 1562' and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.)
Hoffmans Antiques
Pair of cabinets Paris, circa 1800 Walnut, mahogany, and mahogany veneer with gilt-bronze mounts; grey Bardiglio marble tops In the manner of Luigi and Antonio Manfredini, Paris This pair of neoclassical cabinets reflects the refined elegance of early nineteenth-century Parisian design. Each cabinet combines function with ornament, comprising drawers, a cupboard, and a concealed drawer. The gilt-bronze mounts feature central lion masks and Egyptian-inspired motifs, a reference to the vogue sparked by Napoleon’s Egyptian campaign. Topped with slabs of grey Bardiglio marble, the cabinets unite practicality and decorative sophistication.
Pauline's Jewellery Box
Belle Epoque diamond tiara necklace, circa 1905 Platinum and diamond Provenance: private collection, London An Important Belle Epoque Diamond Tiara Necklace, set with old european & rose cut diamonds. The estimated total diamond weight is approximately 12.00 carats. Estimated colour H-I on average. Estimated clarity VS-SI on average. The diamonds are bright & lively, mounted in platinum.
Brame & Lorenceau
marie laurencin
Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue Raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japon, 1986, n° 1150, repr. B&W.
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from March 19, 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948 1951 , exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015 , p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
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N. Vrouyr
mekhitar garabedian
Mekhitar Garabedian (Syria, Aleppo 1977) I copied this in a hurry and wrote in large letters (carpet) Pile: wool and silk, warp and weft: cotton 120 x 120 cm Provenance: handmade in Nepal For the design of this carpet, Mekhitar Garabedian is reinterpreting Armenian medieval miniatures, and the edges of the image in particular. The decorative patterns were the monks’ preferred place to improvise and deviate from the norm. By appropriating himself various visual and textual sources, Garabedian explores the fragility of heritage.
Finch & Co
a fine south netherlandish carved ivory crucifix figure of christ with a silver halo and sacred motto affixed to a rosewood cross
A Fine South Netherlandish Carved Ivory Crucifix Figure of Christ with a Silver Halo and Sacred Motto Affixed to a Rosewood Cross With gilt-wood embellishments on original Rosewood scallop shaped base an Ivory Skull and Crossbones symbolic of golgotha beneath Christ’s feet His legs uncrossed His hands and Feet attached by Iron Nails Small chips to fabric of hanging Perizonium Old smooth creamy patina Circa 1690-1700 Size: Christ: 40cm high, 24cm wide 6cm deep / Cross: 109cm high, 41.5cm wide, 22cm deep Belgium CITES: 2025/BE00989/CE
Stern Pissarro Gallery
maurice estève
Maurice Estève (Culan, 1904-2001) Untitled, circa 1953-1955 Gouache, watercolour and charcoal on paper 52.6 x 69.3 cm (20 ³/₄ x 27 ¹/₄ inches) Signed lower left 'Estève' Provenance: private collection, UK This work is registered in the archives of Mrs Monique Prudhomme-Estève under no. A.78.
Galerie Raf Van Severen
anne-pierre de kat
Anne-Pierre De Kat (The Netherlands, Delft 1881-1968 La Frette-sur-Seine, France) Femme à la cigarette, 1921 Oil on canvas 102 x 80 cm Signed bottom left Provenance: private collection, Knokke-Heist Literature: Paul Caso, Anne-Pierre De Kat, Une vive intelligence visuelle, Les Editeurs d'Art Associés Exhibition: Guillaume Campo, Meir 47-55 Antwerpen, Exposition n° 121 (label at the back)
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Laurent Schaubroeck
Sergio Rodrigues (Rio de Janeiro, 1927-2014) Mucki bench, 1960s W 300 x D 60 cm Produced by Oca Provenance: private home, Brazil First conceived in 1958 and produced by Oca, the Mucki bench is among Sergio Rodrigues’ most versatile and emblematic designs. Its low, rectangular structure with latitudinal slats and rhythmically placed wood buttons reflects the refined balance between simplicity and sophistication that defines Rodrigues’ work. This exceptional example, measuring three meters in length and an unusual 80 cm in depth, was made to measure in the 1960s - an extremely rare proportion that highlights the adaptability of Rodrigues’ design to specific commissions. Executed in solid rosewood, the bench showcases the rich tonal variations and expressive veins of the wood, underscoring its sculptural quality. A remarkable and rare original, it remains in excellent vintage condition, testifying to the enduring relevance of Rodrigues’ vision.
