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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.
De Zutter Art Gallery
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La couleur spontanée', Le Mans, Musée de Tessé 2017-2018 and Musée de Pont-Aven 2018 Exhibition: CoBrA exhibition at the Royal Museum of Fine Arts of Belgium in Brussels, 2008-2009
Laurent Schaubroeck
Rick Owens (USA, Porterville, 1961) Small Plug Table, 2013 Black stained plywood H 41 x W 140 x D 75 cm Stamped Rick Owens 02/08 Edition of 8 + 4 AP Produced in France A monolithic composition in black plywood, the Plug Table reflects Rick Owens’ uncompromising approach to furniture: reduced geometry, architectural weight and an almost brutalist sense of proportion.
Artimo Fine Art
Émile Jespers (Antwerp, 1862-1918) Reclining female nude on a wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Galerie von Vertes
Marino Marini (Pistoia 1901-1980 Viareggio) Composizione, 1956 (conceived and cast before 1970) Bronze with brown and green patina (6/6) 20 x 14 x 8.5 cm Stamped on the base plate 'MM' Casts: 6 + 1 A.P. Provenance: Dominion Gallery, Montréal (after 1970); private collection, Canada; Finartis Kunsthandels AG, Zug; collection Gerard Valkier (acquired June 2004 from the above); Christie's, Paris, 20 October 2021, lot 15; private collection, Switzerland (acquired from the above) Literature: Franco Russoli, Marino Marini, pitture e disegni, Milan, 1963, n° 5 (ill., titled 'Der Sturz (kleine Bronze)'; Abraham M. Hammacher, Marino Marini: Sculpture, Paintings, Drawings, London, 1970, n° 245; Patrick Waldberg, Herbert Read and Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, n° 337; C. Pirovano, Marino Marini, Scultore, Milan, 1972, n° 343; 'Hommage à Marino Marini', in XXe siècle, Paris 1974, pp. 56-57 (another cast is illustrated); Mercedes Precerutti-Garberi, Marino Marini Alla Galleria D'Arte Moderna Di Milano, Milan 1973, p. 31; Cat. Omaggio a Marino Marini, XX. Siecolo, Milan 1974, pp. 56-57; Mercedes Precerutti-Garberi, Marino Marini, Guida al Museo-Galleria d'Arte Moderna, Milan 1984, p. 32 (ill. p. 164); Mario Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan 1997, p. 227, n° 89 (ill.); M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano, Milan 1997, n° 30; Giovanni Carandente, Marino Marini, Catalogo ragionato della scultura, Milan 1998, p. 424, n° 422 (ill. p. 292)
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Van Herck-Eykelberg
Léon Spilliaert (Ostend 1881-1946 Brussels) The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88.5 x 67.5 cm Signed and dated top right ‘L. Spilliaert / 1912’ The work will be included in the forthcoming catalogue raisonné currently in preparation by Ms. Anne Adriaens Pannier Provenance: Ms Madeleine Spilliaert, Brussels; Ms. Irmingarde van Rossum, Brussel (2000); De Vuyst, Lokeren, 2016, Moderne en Hedendaagse Kunst, n° 163, cat. 163; private collection, Belgium Exhibition: 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 6 May-18 June 2000; verlenging: 23 June-3 September 2000: cat. 41, ill. in colour p. 77
Galerie Alexis Bordes
Constant Montald (Ghent 1862-1944 Woluwe-Saint-Lambert) View of Houses in Spring, 1917 Gouache on paper laid down on cardboard 70 x 88.5 cm Signed and dated lower right 'C. Montald 17' Provenance: private collection, Belgium (acquired at public auction in 1993); private collection, France
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) La source, 1908 White marble and green marble for the base H 60 cm Signed 'Ph. Wolfers' Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, pp. 154 and 392, n° 223 Exhibitions: Brussels, 1908; Brussels, 1928; Ghent, 1979
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Ars Antiqua
Santi di Tito (Florence, 1536-1603) Portrait of Domenico di Lorenzo Passerini with his son Lorenzo Oil on panel 115 x 82.5 cm 130 x 100 cm (framed) Passerini family seal on the reverse Literature: Capolavori che si incontrano. Bellini, Caravaggio, Tiepolo e i Maestri della pittura toscana e veneta nella collezione della Banca Popolare di Vicenza, exhibition catalogue edited by Fernando Rigon, Geneva-Milan, 2014, pp. 168-69, 171-72; L. Scanu, Santi di Tito e l’arte del ritratto. Una nuova effige e una possibile serie dei senatori fiorentini, 'Bollettino Telematico dell’Arte', 11 September 2025, n° 983; N. Bastogi, Due ritratti femminili di Santi di Tito, 'Paragone Arte', 60, 2009, pp. 58-66
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
Maurice Verbaet Collection (MVC)
Marcel Mariën (Antwerp 1920-1993 Brussels) La Mire, circa 1981-83 Gelatin silver print on paper 18 x 12.5 cm (unframed) 33 x 43 cm (framed) Edition 2/6 Even before meeting the Brussels surrealists at the age of 17, Marcel Mariën (1920-1993) had taken his first steps in photography, having begun an apprenticeship with a photographer in Hoboken at the age of 15. During the 1940s, he began to use photography to create images with the bodies of the women he loved, but it was mainly from the 1980s onwards that he made frequent use of it. The photograph La Mire highlights the remarkable effectiveness of his creations, which, whilst appearing simple, reveal a wealth of meanings the moment one takes a closer look. It also demonstrates the extent to which photography enables Mariën to explore in greater depth the themes he develops in his objects, collages and writings. Indeed, his entire body of work is a reflection on the status of art. In this respect, he builds upon not only the concerns of the surrealists but also those of Marcel Duchamp. The Mona Lisa, the quintessential masterpiece of Western painting, was notably appropriated by Duchamp, who drew a moustache on it and added the inscription ‘L.H.O.O.Q.’ (‘Elle a chaud au cul’ or ‘She’s got a hot arse’) in 1919. Mariën takes this provocative critique of the mythicization surrounding this artwork a step further. The pubic hair encapsulates the moustache and inscription. It emphasizes the distance between the real woman and the painted one, whose identity has been forgotten whilst her depiction has become ubiquitous. The title refers to ‘la mire’ – that is, the image shown on television when channels were off the air –, an ever-present image that nobody looks at, much like the Mona Lisa, of which we have seen so many reproductions that we can no longer truly appreciate the real painting. But it also implies that ‘elle la mire’, which means ‘she is gazing at her’: it echoes Duchamp’s inscription, which can also be read as ‘look’. Furthermore, it plays on the belief that the Mona Lisa follows viewers with her gaze. Mariën presents the Mona Lisa as looking intently at the sex of the flesh-and-blood woman lying in front of her – in a perspective reminiscent of L’Origine du monde by Courbet. Perhaps his photograph enables us to better understand the reason behind the Mona Lisa’s famous mischievous smile?
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; European private collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)
Dalton Somaré
Chokwe chair Angola, late 19th century Wood, metal, and leather H 68 x W 31 x D 38 cm Provenance: collection of Joyce and Donald Doyle, diamond mine directors for the Compagnie de la Forminière in the Belgian Congo in the 1920s. The majority of their collection was donated to the Princeton University Art Museum. Thence by descent to their daughter Suzanne "Sue" Miers, née Doyle (1922–2016), Africanist historian and professor at Ohio University. Thence by descent to her children Charles Miers and Caroline Farrington, New York Literature: Narrative Wisdom and African Arts (Exhibition catalogue), St. Louis Art Museum, 19 October-16 February, 2025, pp. 74, 75, 81 Exhibition: Narrative Wisdom and African Arts, St. Louis Art Museum, 19 October-16 February, 2025 This leather-seated chair belongs to a tradition of Chokwe seats of authority, commonly described as ngundja. Its refined decoration transforms a functional furnishing into a visual expression of chiefly prestige. Such seats formed part of a wider repertoire of objects associated with leadership, alongside ceremonial weapons, staffs and elaborately carved pipes. The combination of a backrest, a leather-covered seat and metal tacks reflects the adaptation of European furniture encountered through trade from the seventeenth century onward. Chokwe artists reworked these features within their own sculptural language, making the chair an expression of local political and spiritual values. At the centre of the back is a sculpted female face, which must be identified as Pwo. Pwo honours female ancestors and has particular significance within a society that traces descent through women. Her imagery also belongs to the wider world of masquerade and initiation. The lower stretchers carry small sculptural groups as musicians playing handheld drums and a slit drum, and a mounted pombeiro, or long-distance trader. It must be noted the unusual prominence of a female subject in these carved scenes. These scenes can be read within the broader Chokwe tradition of presenting ritual and everyday activities as aspects of the social world entrusted to a leader. Extremely sophisticated geometric carving and rows of metal studs enrich the back and supports, contrasting with the leather seat and the varied tones of the wood. The combination of carved figures, the monumentality of the composition and the rigour of the geometric decoration in high relief lend this sculpture the dignity and authority of a true throne.
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A landscape with travellers near a castle or an ALlegory of Spring Oil on panel 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters evening sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V; Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm 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
Galerie Hurtebize
Henri Lebasque (Champigné 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54.3 cm Signed lower right Certificate of authenticity issued by Denise Bazetoux Painted in 1900, this remarkable composition reflects Henri Lebasque’s artistic explorations at the turn of the 20th century. Fascinated by the paintings of Renoir and Pissarro, the artist was part of the Post-Impressionist movement. Through his interactions with Maximilien Luce and Paul Signac, he developed a technique with Pointillist elements, particularly evident in this work. In the heart of a lush garden, an elegant young woman, wearing a flowered hat and a light blue dress, is shown from behind, immersed in an intimate scene. The richness of the brushwork, composed of small, juxtaposed touches of color, brings the vegetation to life and seems to animate the figure under the shifting effects of light. The particularly vibrant color palette creates a dialogue between the luminous blues of the dress, the deep greens of the garden, the brilliant yellows of the foliage, and the delicate pinkish hues of the background. This painting brings together several of Lebasque’s favorite themes: the female figure, the intimacy of everyday life, and lush nature. Through its rich color palette and sensitivity to light, it illustrates a pivotal period in his artistic evolution, foreshadowing the luminous style imbued with a gentle zest for life that would make him famous.
Franck Anelli Fine Art
Antwerp school of the 16th century Mary Magdalene, circa 1540 Oil on wooden panel 47.7 x 32.7 cm Provenance: private collection, France Bust-length portrait, the sitter’s face slightly turned to the left, holding a gold cup. She wears a red dress with puffed sleeves and a green ribbon, adorned with gemstones and pearls, with ribbons set into the neckline and a necklace. Her blue-violet hat is trimmed with a ribbon decorated with a diadem motif.
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33 Standing just 24.5 cm tall, this exceptional female nkisi from the Mayombe region of the Democratic Republic of the Congo possesses a presence far greater than its size suggests. Its piercing, wide-open eyes, finely modelled features and harmonious proportions reveal the remarkable quality of the carving, while the striking accumulation of black seeds surrounding the body adds to the intensity of its beautifully balanced composition. In Kongo tradition, nkisi figures were created to protect, heal and mediate between the visible and invisible worlds. Activated by a nganga, a ritual specialist and healer, they embodied spiritual forces believed to influence human life. This female figure, with her hands holding her breasts, evokes fertility, motherhood and the continuity of the lineage, while also fulfilling a protective function. At the centre of her abdomen, a mirror conceals a ritual cavity containing bilongo, a potent combination of plant, mineral and animal substances. The mirror establishes a symbolic connection with the spirit world, while the small cowrie shell adorning her forehead evokes prosperity and fertility. What makes this sculpture particularly compelling is the exceptional preservation of its ritual attributes. The abdominal receptacle, its mirror and ritual contents have survived, offering valuable insight into the figure's original spiritual function. Its richly layered, time-worn patina, thick and encrusted in places, bears witness to its ritual history. Equally fascinating are the numerous glossy black seeds, probably from a tropical vine of the Dioclea genus, which have survived along with the cords securing them. Combining sculptural refinement, spiritual significance and a rich assemblage of preserved ritual elements, this intimate yet commanding figure stands as a remarkable testament to the artistic traditions of the Mayombe region.
