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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
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Galerie Raf Van Severen
Elena Laverón (Spain, Ceuta, 1938) Pareja Sentada (Seating Couple), 1975 Cast bronze with dark patina H 170 x W 193 x D 116 cm Edition of 3 + 2 AP Literature: Antonio Abad, 'Elena Laverón, The flight of forms', 1987, p. 168; Juan Ibáñez Plaza (com.), 'de Elena Laverón', Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, p. 115; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (n° 16), Real Academia de Bellas Artes de San Telmo, 2016, p. 389; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, 'UNESCO : La collection d'art', 2017, p. 431 Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building
Jan Muller Antiques
Juriaen Jacobs (Hamburg 1624-1685 Leeuwarden) A mother and her children, 1659 151 x 113 cm Signed an dated 'J. Jacobs 1659' Inventoried on the RKD n°216993 Provenance: Warberg collection, Oslo, 1948; Braunschweigh, Herzog Anton Ulrich-Museum n° 809 (1983) Literature: Henrik Lungagnini, 'Der Hamburger Maler Juriaen Jacobsz. 1624–1685: Leben und Werk' (PhD diss., 1970), 232-33
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35.5 x 42 cm Signed and dated Provenance: Salomon Beffie collection, Amsterdam; Willem Beffie collection, New York; Galerie van Voorst van Beest, The Hague; Reens, collection, Amsterdam; A.J. van Hillegondsberg collection, Blaricum; private collection, Amsterdam Literature: On-line catalogue raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July-25 July 1915 n° 40
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92.1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932-1937, 1996, pp. 238-39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935-1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78-79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987-88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930-1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) (After) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) 22.5 x 29.4 cm Published by Hiëronymus Cock (Antwerp, 1518-1570) References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca Armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Galerie Berès
Édouard Vuillard (Cuiseaux 1868-1940 La Baule-Escoublac) La couseuse, 1893 Gouache and watercolour on a lithographic background 19 x 23.8 cm Monogrammed lower left 'EV' Provenance: Thomas Justice, Dundee; the Lefevre gallery, London Literature: Les peintres graveurs 1890-1900, galerie Berès, Paris, 10 October-14 December 2002, n° 222; Édouard Vuillard, Staatliche Kunsthalle Karlsruhe, 18 October 2008-25 January 2009, p. 59, n° 13; Vuillard et l'art du Japon, Fondation de l'Hermitage, Lausanne, 23 June-29 October 2023, p. 60, n° 8
Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31.8 cm Signed, dated and titled on the reverse Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 Provenance: Shinwa Auction, 23 November 2014, lot 145; private collection, Japan (acquired from the above); Bonhams, Hong Kong, 11 June 2016, lot 26; private collection, Asia (acquired from the above); Christie's, Hong Kong, 3 December 2020, lot 517; private collection, London (acquired from the above) Repetition or seriality would become her signature technique in everything that she created: 'Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.'
Galerie Boulakia
KENNY SCHARF Infinitum, 1996 Huile et acrylique sur toile 81.7 x 107 cm 32 1/8 x 42 1/8 in Signé, titré et daté 'Kenny Scharf Infinitum '96' (au dos) Provenance Tony Shafrazi Gallery, New York Dennis Hopper Collection (acquis auprès de ce qui précède en 1999). Christie's NY, 2011 Acquis à la vente par l'actuel propriétaire
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres Transforming the Old Woman’s Son into a Lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy