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Repetto Gallery
Carla Accardi (Trapani 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 629A Provenance: Soffiantino Arte Contemporanea, Turin; private collection Literature: Germano Celant (edited by), 'Carla Accardi. Catalogo ragionato', (Charta, Milano) 1999, p. 419, ill. n° 1997 62 (B&N)
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne - the nymph turned into a laurel tree to escape the god Apollo - comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Waddington Custot
Jean Hélion (Couterne, Rives-d'Andaine 1904–1987 Paris) Homme au chapeau, 1943 Oil on canvas 58.1 x 43.1 cm Signed and dated on reverse ‘Hélion va 43’ This work is recorded in the online catalogue raisonné de l’oeuvre peint de Jean Hélion, n° 876 (http://www.helion-cat-rais.com/moteur/pop.php?id=1216) Provenance: John Ashbery, New York (directly from the artist); Connaught Brown, London Exhibitions: ‘Jean Hélion’, Spencer A. Samuels & Co., Ltd, New York, 7 April–22 May 1976, catalogue no. 8 (repro. In b&w); ‘Works from the Collection of John Ashbery’, Kasmin Gallery, New York, 1 November–22 December 2018; ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026
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.
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
Dries Criel
EOS Earrings Sandblasted 18k yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. The earrings radiate a soft, sunlit warmth. Their matte surface captures light with subtlety, creating a gentle and enduring glow. At the heart of each piece rests a natural, white, step-cut diamond. Framed by flowing lines and delicate pavé diamonds, its architectural brilliance recalls the moment dawn first appears on the horizon: quiet, luminous and full of promise.
Galerie des Modernes
Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Certificate of authenticity by Pierre-François Moget To be included in the forthcoming catalogue raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget Provenance: the artist’s studio, Cachan; private collection, The Netherlands; private collection, France
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
Stéphane Renard Fine Art
Jean-Auguste-Dominique Ingres (Montauban 1780-1867 Paris) Portrait of a woman, 1802 Oil on canvas 29 x 21 cm 33 x 40.5 cm (framed) Provenance: purchased at a public auction in Asheville (North Carolina, USA) in January 2024 Exhibition: Museum Central des Arts (Salon de 1802), n° 719, Ingres, Portrait de femme This Portrait of a Woman by Jean-Auguste-Dominique Ingres is a discovery. The gallery would like to thank Mr. Eric Bertin, Mr. Sylvain Bédard, Lecturer at the University of Montreal, and Professor Andrew Carrington Shelton of Ohio State University, all three of whom confirmed the painting’s attribution to Jean-Auguste-Dominique Ingres after first hand examinations.
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 Questions of furnishing remained an important subject for the architect Adolf Loos (1870–1933) throughout his entire creative output. The World’s Fair held in Chicago in 1893 was the reason for a trip to the USA, which resulted in a three-year stay. The engagement with modern lifestyle and Anglo-Saxon interior design culture were formative experiences for the aspiring architect. Today, Loos is widely seen as one of the most avant-garde architects of his generation and his work is presented in national and international collections, from the MAK – Museum of Applied Arts in Vienna, to the Musée d’Orsay in Paris and the Victoria and Albert Museum in London. Of this particular writing desk only two pieces are known to exist. It perfectly exemplifies Loos’ strict no-ornament policy, always putting functionality before aesthetic, and his high standards concerning materials and craftmanship. To ensure the latter he would often employ the traditional Viennese furnishings company Friedrich Otto Schmidt and its master carpenters as manufacturers for his interior designs. This model was shown in three separate museum exhibitions, in Paris 1983, Karlsruhe 1987 and Barcelona 2017.
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
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
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)
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
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 Pol Bury, an artist and sculptor known worldwide for his kinetic works, began his career in the late 1930s. He met the poet Achille Chavée, who introduced him to the Hainaut Surrealist Group: ‘Rupture’. He also spent time with René Magritte, whom he admired. He contributed to the journal 'L’invention collective', launched by Raoul Ubac and René Magritte around 1940. His surrealist works, in the spirit of his mentor Magritte, were exhibited in 1945 at the International Exhibition of Surrealism at the Galerie des éditions la Boétie in Brussels. This work is one of the most iconic of his Surrealist period.
Galerie Florence de Voldère
Adriaen Isenbrant (active in Bruges circa 1500-1551) The Adoration of the Magi Oil on panel 46.5 x 35.5 cm Provenance: Cloister, Chiusa, Italy; Munich, Bayerische Staastsgemaldesammlungen, Alte Pinakothek, n° 152, circa 1908; Julus Bohler, Munich, circa 1936; Sotheby's London, 24 June 1964 lot 13; Galerie Robert Fink, Brussels, circa 1964; Pierre Neuray, Brussels; Christie’s London, 1 July 1966 lot 53; Dennis Vanderkar, London, circa 1967; Galerie Richard Green, London July 1995; private collection and thence by descent Literature: F. von Reber, Katalog der Gemälde-Sammlung der königlichen älteren, Pinakothek in Munchen, Munich, 1908, p. 37, n° 152; E. von Bodenhausen, Gerard David und seine Schule, Munich, 1905, p. 217 n° 82; M.J Friedlander, The Antwerp Mannerists, Adriaen Ysenbrant, New York/Washington, 1974, XI p. 84 n° 149 ill. b/w p. 123 Exhibitions: Brussels, Galerie Robert Fink: 'Exposition de tableaux de maîtres flamands du XVe au XVIIIe siècle', 27 November-13 December 1964, ill. in colour n° 3; London, Dennis Vanderkar, 'Dutch and Flemish old masters', 30 March-29 April 1967, ill. in colour n° 1; Brussels, Galerie Robert Fink, 'Tableaux anciens exposés en permanence à la galerie Robert Fink', 1972, ill. in colour n° 4