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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, and the edges of the image in particular, Mekhitar Garabedian has reinterpreted Armenian medieval miniatures. The decorative patterns were the monks’ preferred place to improvise and deviate from the norm. By appropriating various visual and textual sources, Garabedian explores the fragility of heritage. Biography Deploying a variety of media such as drawing, video, photography and installation, many of Mekhitar Garabedian’s works draw from his experience as an immigrant and play on the humour and poetic qualities he finds between languages, cultures and histories. Just as his personal diasporic history is layered, his work echoes with a multiplicity of references to literature, music, philosophy and visual arts. Mekhitar Garabedian (°1977) was born in Aleppo and lives and works in Antwerp. In 2022, he was commissioned by Middelheimmuseum/Kunst in de Stad to create a public sculpture in the Antwerp Stadspark. Previously he had solo exhibitions at BOZAR in Brussels, S.M.A.K. in Ghent, Beursschouwburg in Brussels, BE-Part in Waregem and KIOSK in Ghent. In 2015 he was invited to present several works at the Venice Biennale in the Armenian pavilion, which was awarded with the Golden Lion. Garabedian participated in group exhibitions that were held at the New Museum in New York, Hamburger Kunsthalle, WIELS in Brussels, 5th Thessaloniki Biennial, Marta Herford, Villa Empain in Brussels, Gulbenkian Museum in Lisbon, Argos in Brussels, Haifa Biennial, BAM in Mons, M HKA in Antwerp, Drawing Room in London, Museum M in Leuven and Kunsthaus in Dresden, amongst many others.
DIE GALERIE
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat. Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat. Musées de la Cour d'Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43. Exhibitions: Masson: Massaker, Metamorphosen, Mythologien. Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d'Or, Metz, 1999; André Masson. Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025
Giammarco Cappuzzo Fine Art
Giovanni Giacomo Sementi (Bologna 1584-1636 Rome) The Triumph of David, circa 1630 Oil on canvas 137 x 159 cm Provenance: private collection, Italy Literature: M. Francucci, Giovanni Giacomo Sementi, Un dipinto di soggetto insolito, in Arte Cristiana, n° 869, 2012, pp. 143-148; M. Pulini, Rimini per Simone Cantarini, opere da raccolte private, Rimini 2012, pp. 20-21, fig. 20; A. Pellicciari, I'Eredita’ di Guido Reni, in la pittura in Emilia e in Romagna. The Seventeenth Century, edited by Andrea Emiliani, Milano, 1992; G. Puglia, Il Bastaro, fig. 36, pag. 79; M. Francucci, il naturalismo classicizzato nella Roma di Urbano VIII, LibroCo Italy, Florence, 2013; Ariccia, Gian Giacomo Sementi, Quaderni del Barocco, 2021, p. 8 fig. 14
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.
Galerie Capazza
éric antoine
Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October-7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, Eric Antoine uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols. These photographs without subjects challengethe very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process here is an emancipatory discipline. In an almost sculptural approach, Eric Antoine delivers true photograph-objects, shimmering and silvery.
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101
Carlucci Gallery
Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.
Galerie Perrin
walter sauer
Walter Sauer (Brussels 1889-1927 Algiers) Pensive woman, circa 1925 Mixed media 78.5 x 61.3 cm Signed upper left 'WS Walter Sauer' Provenance: private collection A unique, elegant style characterises the art of Walter Sauer, an artist who, in his short lifetime, lit up the Belgian art scene in the first twenty years of the twentieth century. Sauer's hand has a sensitivity to form that is characteristic of decorators; reality, in his eyes, is stripped of that which is superfluous, showing the noble essence of form. This essentiality, combined with an absolutely personal technique, makes Sauer's works instantly recognisable. The figure of the woman is the leitmotif of the artist, who combines his vision of the model with a series of cultural references ranging from Japanese art to Western tradition.
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.
Axel Vervoordt
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93
Galerie Raf Van Severen
théo van rysselberghe
Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924-034, p. 441; Catalogue de l'exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l'instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des Beaux-Arts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229
Van Pruissen Asian Art
nagai ikka
Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan Nagai Ikka (also known by the art names Zuiunan and Hanpo) was born in 1869 in Suibara, Niigata Prefecture, during the early Meiji period. He trained under leading masters of the Maruyama and Shijō schools, including Suzuki Shōnen, Nakano Kimei, and Hirafuku Hoan, and later absorbed stylistic influences from Kawanabe Kyōsai. This grounding in careful observation and naturalistic rendering provided the foundation for a personal style that balanced precision with expressive freedom. He began painting crow paintings after helping Ernest Francisco Fenollosa create 'One Hundred Crows', a painting he had commissioned from Kyosai. The late Meiji and Taishō periods were marked by profound change in Japanese art, as artists navigated between traditional aesthetics and the growing influence of Western naturalism. Ikka embraced this dialogue, drawing on classical ink painting techniques whilst expanding his horizons abroad. From 1903 to 1908, he lived in the United States, exhibiting at international events such as the Portland Expo, where he won a silver medal, and later at the Italian Expo. His crow paintings, admired both in Japan and overseas, earned him the affectionate nickname 'Doctor of Crows' from statesman Ōkuma Shigenobu. The crow (karasu) has a long symbolic tradition in Japanese culture, appearing in classical poetry, Buddhist imagery, and Shintō cosmology, most famously as Yatagarasu, the mythical three-legged crow. Ikka revitalised this motif, transforming it from a minor decorative element into the central subject of bold, dynamic compositions. This pair of six-panel folding screens demonstrates his command of movement and atmosphere. Painted in ink with sparing touches of colour, the crows appear in varied postures—perched, in flight, or interacting—creating a rhythm that guides the viewer’s eye across the expansive surface. Bold, calligraphic brushstrokes define wings and feathers, while softer washes evoke wind, mist, and shifting light. The result is a scene that is both naturalistic and poetic, combining the restraint of traditional ink painting with a striking modern vitality. Ikka’s crows are not static symbols but living presences, conveying alertness, intelligence, and social energy. His lifelong study of corvid behavior, informed by travels across Japan, Korea, China, Taiwan, and the United States, gave his work an observational depth rare among his contemporaries. At the same time, his art reflects a broader ambition: to elevate the ordinary into the emblematic, merging natural accuracy with expressive force. Today, Ikka’s crow paintings are prized by collectors and studied as important examples of Meiji-period nihonga, where fidelity to nature combines with enduring Japanese aesthetic ideals. These folding screens stand as a testament to his originality and his ability to transform a humble subject into a powerful symbol of vitality and freedom.
De Zutter Art Gallery
christo
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm Provenance: artist's studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91, Cologne, 1998, pp. 694-695 (illustrated)
Gallery de Potter d’Indoye
georges jacob
Pair of bergères 'à la Reine' Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997 Pair of carved and gilded wood Bergères with rounded backs, decorated with acanthus leaves and an interlacing frieze. Tapered and caned legs with gadroons. The arched crest surmounts padded armrests, the frames carved with guilloche patterns and foliage, resting on turned fluted legs, stamped G. Jacob. Georges Jacob, received as master on the July 5th, 1765, is the most famous of all the 18th-century French menuisiers. Unlike his colleagues, Jacob founded his company from scratch in 1765 and moved his workshops to Rue Meslée in 1775. This is where the most brilliant period of his career took place and where the major royal commissions were produced. From 1773 he was solicited by the Garde-Meuble de la Couronne, for which he continued to work until the Revolution. In addition to the Queen and, to a lesser extent, the King, his clientele included the main members of the royal family and its entourage. As ordinary carpenter to Monsieur, Count of Provence and brother of the King, the future Louis XVIII, he furnished most of his homes. He also worked for the Count of Artois, another brother of the King and future Charles X, Madame Élisabeth, sister of Louis XVI, the Prince of Condé, the Duke of Penthièvre, the Duke of Bavaria and Deux-Ponts Charles-Théodore, etc.
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France
Maisonjaune Studio
ingo maurer
Ingo Maurer (Germany, 1932-2019) Hana Chandelier (Uchiwa collection), 1970s Bamboo, Japanese paper Provenance: Japan The Hana chandelier belongs to Ingo Maurer’s Uchiwa collection, created in the 1970s. Handmade in Japan from bamboo and Japanese paper fans, it radiates lightness and poetry. Its sculptural presence blends tradition with refined modernity. Exceptionally rare today, it stands as one of Maurer’s most iconic creations.
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
Patrick Derom Gallery
jean arp
Jean Arp (Strasbourg 1887-1966 Basel) Untitled, circa 1930 pencil and gouache on paper 30 x 25.8 cm Signed lower right on the reverse Certificate of authenticity of the Arp Foundation, Clamart, dated 24 March 2009 Provenance: Marguerite Arp-Hagenbach, Meudon (widow of the artist); Hans Arp and Sophie Taeuber-Arp Foundation, Remagen-Rolandswerth, Germany (since 1977); Galerie Mitchell-Innes & Nash, New York; private collection Exhibitions: 1990, Moscow, Puschkin Museum, Hans Arp 1886-1966: Sculpture, Reliefs, Drawings, Collages; 1994, Munich, Haus der Kunst, Elan Vital oder Auge des Eros; 1996, Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp, Hans Arp/Sophie Taeuber-Arp, cat. 41 1997-2000, Saint-Petersburg, Hermitage Museum, Thessaloniki, Altes Archäologisches Museum, Mantoue, Palazzo Te, Toyota, Municipal Museum of Art, Krakow, Galerie Bunkier Sztuki, Heino, Stichting Hannema-de Stuers, Hans Arp und Sophie Taeuber-Arp; 2003, Palma de Majorque, Fundacion Sa Nostra, Diverse Explorations: Hans Arp and Sophie Taeuber-Arp
Mearini Fine Art
Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Italy, 16th century Polychrome sculpture of stucco and paper mache constructed around a wooden core H 70 cm Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Pauline's Jewellery Box
Belle Epoque diamond tiara necklace, circa 1905 Platinum and diamonds 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.